Summary:

Sixty-six-year-old Warren Schmidt retires from the insurance company for which he has worked all his adult life. Almost immediately, another life-changing event sends him reeling, taking to the road in a luxury RV in search of the answers to some questions he has long-avoided asking.

Steve says:

It’s difficult to remember a year that is so filled with Oscar worthy films and performances, many of which were held for release at year’s end in order to remain fresh in the cerebral cortexes of Academy votes. Standing tall amid the pack is Alexander Payne’s ABOUT SCHMIDT. The script and direction are certainly solid contenders for the gold. But the Oscar bait that can’t be ignored is Jack Nicholson’s tender and truthful rendition of Warren R. Schmidt.

It’s been a long time since we’ve seen the depth and breadth of Nicholson’s talent. Even in such signature roles as Melvin Udall in AS GOOD AS IT GETS or Randall P. McMurphy in ONE FLEW OVER THE CUCKOO’S NEST, we usually see the actor in some variation of his own persona. It’s an unfortunate side-effect to movie stardom that writers begin to write for specific actors based on what they’ve seen them do in the past. This is certainly true in Nicholson’s case. Also – let’s face it – in recent years, Nicholson has appeared in a host of movies that were beneath his considerable abilities (BLOOD AND WINE, MARS ATTACKS – the list goes on).

But Jack Nicholson, the consummate actor is back with a vengeance in ABOUT SCHMIDT. As Schmidt, Nicholson is nothing short of brilliant; portraying a man who is being left behind as he desperately tries to find where he fits in the world while all about him changes at a frightening pace. There is not a trace of the cool, cynical wise-ass that Nicholson usually brings to the screen. Instead, he wears his sagging jowls and bad comb-over as badges of pride; the outer trappings of a man whose overwhelming sorrow masks a fierce anger over the fact that he never became what he thought he would.

Nicholson’s performance is as close to perfect as acting gets. Early in the film, when Schmidt and his wife are attending his retirement dinner, we can actually see the moment when his eyes begin to glaze over as he endures the overblown and insincere bovine feces bring piled high in his honor.

Alexander Payne and Jim Taylor’s script is the perfect blueprint for a truly grown-up movie – the seriocomic tale of an everyman who sees the end of his life coming and begins to experience the depth of his regret and recriminations.

There is also some noteworthy acting from Kathy Bates as the mother of the shiftless underachiever whom Schmidt’s daughter Jeannie (Hope Davis) is marrying. In addition to turning in her usual bang-up acting job, Bates deserves the good sport of the year award for appearing nude in a hot tub scene with Nicholson.

Dermot Mulroney (MY BEST FRIEND’S WEDDING) sheds his leading man image to play the balding, pony-tailed dork of a waterbed salesman who is about to become Jeannie’s husband, much to the considerable anguish of her father.

Other solid support is provided by Len Cariou as Schmidt’s best friend and Howard Hesseman as the self-aggrandizing father of the clueless groom.

As a director, Alexander Payne (CITIZEN RUTH, ELECTION) just keeps getting better and better. All of the film’s performances are deftly understated; its themes clearly illuminated and its story skillfully told. Payne is becoming the master of the small tale told on a large canvas.

ABOUT SCHMIDT is one of those beautifully observed films that will resonate for years to come. (If nothing else, I can pretty much guarantee that you’ll have a tough time shaking the image of Kathy Bates aú naturál ).

SCHMIDT deserves every one of its five kernels.

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Patty says:

The fact that it’s a small story belies the message of the film, Steve. ABOUT SCHMIDT is so raw with reality that I wanted to vote myself off the island before the end of the first act. A man faces mortality and evaluates the measure of his worth, finding it the emotional equivalent of AOL stock. It’s the stuff that the seriously depressed ponder. Not that this is a bad thing. If Kathy Bates naked, Jack Nicholson’s ass, life in suburban Omaha and Hummel collections aren’t enough reality for you, think of the tackiest wedding you ever attended. You’ll get the drift.

Jack Nicholson is phenomenal, absolutely nailing the character – and what a character. Schmidt is a father and husband who went through the motions of life, but never fully lived. Upon retirement, he begins to reflect about his contribution to life, gradually realizing that his life’s work was largely unappreciated, his marriage excruciatingly dull and his relationships superficial and unrewarding. Just as he’s beginning to wonder what could possibly motivate him to get up in the morning, the bottom drops out of his life. Now if that isn’t enough to kick you into a reality check, what possibly could? Nicholson has some rich scenes to play, but it is his range that blew me away. He’s such a master of facial expression.

I found myself getting a bit squirmy periodically as though the story wasn’t moving fast enough. Maybe it’s just because you start feeling bad for Schmidt in the first few scenes and it just keeps getting worse. The more depressing his life becomes, however, the more you engage with his character. Add Kathy Bates to the mix and you’ve finally got some balance. She’s perfect as the aging hippie, mother-of-the-groom. Flower child one minute and Annie Wilkes the next, Bates is able to tongue-in-cheek her way convincingly enough that you totally buy it.

Reading this, it sounds as though I didn’t like the film. Actually, I loved it. ABOUT SCHMIDT is like a good crying fit. You’re emotionally exhausted afterward, but dammit, you feel better because of it.

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January 10, 2003