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Review Uploaded
12/27/02

2 hrs. 4 mins.
Starring: Jack Nicholson, Kathy Bates, Hope Davis, Dermot Mulroney, June Squibb, Len Cariou, Howard Hesseman, Chris Huse
Directed by: Alexander Payne

Rating: *** ½ stars

Jack Nicholson has played many animated cads in his heyday. He’s also taken on the role of tragic, washed-up figures looking to make a mark in an otherwise dreary existence. In writer-director Alexander Payne’s robust and quirky character study About Schmidt, we witness another impeccable turn by Nicholson that suggests his willingness to embrace the broken-down “elder statesman” prototype. As newly retiree Warren Schmidt, Nicholson delightfully looses himself in the vulnerability of his bewildered alter ego-he’s a lost dinosaur that sports a noticeable receding hairline, has a tired-looking face that can pass as a Triple-A road map and hosts a tattered body that’s reminiscent of an Idaho potato. Nicholson bravely plays a man who’s in a gradual meltdown. As an insightful filmmaker, Payne (Citizen Ruth, Election) instinctively knows how to tap into the slow drawn angst of his protagonists while making it a worthwhile adventure to endure along the way.

Incidentally, About Schmidt is based loosely on the novel by Louis Begley. With Payne’s sharp direction and Nicholson’s joyful and distinctive performance, the film resonates as a form of self-discovery that’s so compellingly telling. Interestingly enough, Payne’s jubilant narrative is engaging both as a celebration of one man’s career-oriented accomplishments and as a stinging reminder that the final journey is near. About Schmidt is a tricky balancing act in the arenas of triumph and tragedy. The film is astutely observant pertaining to life’s unknown expectations and our ability to cope with the circumstances that soon follow. Hence, we sympathize with Schmidt’s rocky path that would eventually enlighten his tortured soul. In essence, Payne is exceptional at presenting this individual’s complicated crossroads and making us a party to his blossoming epiphany.

Nebraska native Warren Schmidt has come to the end of his rope. The 66-year old insurance salesman welcomes his retirement with obvious trepidation. The rat race has finally come to a screeching halt. Schmidt has practically lost his identity, his sense of self-importance and relevance. Unassuming in his anguished frame of mind, Schmidt elects to attend a steakhouse party where soon-to-be former co-workers pay their homage to the departing Woodmen Insurance employee. Accompanied by his supporting wife Helen (June Squibb), Schmidt is mildly receptive to the praises that are pointed his way. But also evident is his indifference to the so-called “happy” occasion. The guests, associates and friends alike, applaud Schmidt’s lengthy service in the “insurance game” and genuinely feel a common respect for the haggard pro that is reluctantly prepared to move on. But it’s a given that Warren Schmidt welcomes the oblivious feelings concerning his new found freedom and soon takes off to the restaurant’s bar while seeking solace in a symbolic drink of quiet despair.

Poor Warren. It’s not long after his realization of starting over after countless years of employment that Helen dies. Understandably, the desperate and devastated guy has no way of getting into his own groove. Schmidt is an aimless animal with no specific purpose. Helen’s passing has made him even more numb and confusing. Without her or his reliable “other love”-the insurance game-Schmidt has drifted off course in search of a worthy substitute that’s willing to relieve his inner pain.

Looking to curve the relentless boredom and loneliness that lurks about, Schmidt decides to rectify this problem by undertaking a couple of soul-searching tasks. First, he decides to travel west in his Winnebago with the anticipation of attending his grown daughter Jeannie’s (Hope Davis) wedding. There’s a definite method behind his madness in embarking on this trip. Schmidt doesn’t want to see Jeannie saddle herself with a doltish waterbed salesman named Randall (Dermot Mulroney). Secondly,
as a good-natured diversion, Schmidt decides to sponsor a Tanzanian orphan named Ngudu. He writes to Ngudu religiously while elaborating on the plight of his revealing field trip while using the unfortunate third world youngster as a therapeutic pen pal. Now one should ask the following: why would this destitute kid care about Schmidt’s long-winded essays regarding his self-serving odyssey? Shouldn’t Schmidt provide more support by sending food and clothing in lieu of forwarding garrulous letters? Let’s face it, the man is clueless!

One thing leads to another as Schmidt begins to uncover the outrageousness that suddenly has bombarded his ruffled life. His good friend Ray (Len Cariou) who clumsily roasted Schmidt at his retirement party turned out to be a backstabbing weasel that carried out a brief affair with his late wife Helen. Of course this sends Schmidt further down in his depressive dungeon as if he doesn’t have enough to worry about with his isolation and potential lunkhead of a future son-in-law. Then, en route to “saving” Jeannie from making a regrettable decision to tie the knot with the doofus, Schmidt runs into Randall’s family. In particular, he clashes with matriarch Roberta (Kathy Bates), a dippy-hippy relic whose mindset is stuck in the hazy ‘60s. Roberta is wildly eccentric and spontaneous. She is blatantly suggestive and her lusty demeanor can be perceived as both flaky and refreshingly liberating. Roberta, in Warren’s estimation, is a bona fide whackjob. This legitimizes the reasoning behind stopping his precious Jeannie from marrying into this nutty family.

However, in sizing up Roberta’s oddness as compared to Schmidt’s peculiar predicament of emotional confinement, we cleverly see how her injection of lunacy is quite resourceful. Despite Roberta’s carefree nature, she has the capacity to be confident and comfortable with herself which is something that actually serves as an inspirational and motivational opening for Schmidt to escape his suffocating rut. Through Roberta’s non-judgmental stance and gregarious frivolity, she can care less what people think of her. Hence, she’s living life as she sees fit whereas her son’s future father-in-law is uptight and restrictive. Very shrewdly, it is inferred that maybe Schmidt is the true blue oddball in this sense.

About Schmidt is solidly a wry, smart and intuitive showcase that highlights the alienation factor to near perfection. After three major motion pictures, Payne has proven time and time again that he is a crafty social satirist whose finger is constantly on the pulse regarding his comical and caustic commentaries. In Citizen Ruth, he hilariously stroked the flames of moral integrity involving the abortion issue. For Election, Payne smugly used the tool of adolescent over-achievement as an explosive device for sordid opportunity and manipulation. Now in About Schmidt, Payne tackles the maturity process and all its related properties of turmoil and uncertainty.

Payne’s pliable screenplay, along with co-writer Jim Taylor, does amazing wonders in fortifying this film with a dynamic energy and edginess that is involving and exceedingly heartfelt. There’s no doubt that Nicholson has given a memorable performance once again that hopefully will garner him some Oscar consideration. Equally impressive is Bates’ fabulous turn as the portly ex-hippie throwback who lets everything hangout both physically and mentally. What could have been a humiliating and cartoonish stint in what Bates brings to the makeup of the rambunctious Roberta evolves into a completely honest and durable characterization. How many self-conscious actresses over age forty would even dare to expose their less-than-perfect saggy bodies on screen by climbing into a hot tube in seductive fashion? Well, Bates does it with humility as she shows some respect to her cockeyed but self-assured character. If there’s any justice, another coveted Oscar should accompany her 11 year-old Misery trophy at home.

About Schmidt is an unconventional road movie that searches and ultimately finds its satirical significance. Payne’s bleak comedy ushers in a raucous sentiment that rings true on so many levels.
This is a rewarding and riveting presentation that deserves the attention of serious moviegoers who fancy off-kilter, well-acted fare.

Consequently, Payne, Nicholson, Bates and the whole supporting gang are truly infectious in this entertaining and thought-provoking gem.