|
Review by Harvey Karten
3½ stars out of 4
Much has been written in pop psychology magazines about
male mid-life crisis: the time that men at about age forty take
inventory of their lives and resolve to make changes. Most realize
that they're not going to be CEO's and worry about the way their
hormones are losing their edge. Some get nifty Mercedes
Kompressors, others (especially during the 1960s and 1970s)
wear their weekend shirts unbuttoned, strings of beads decorating
their hairy chests.
Since senior citizens are not as sexy, stories about them are
largely missing from the big screen. Since most moviegoers are
under the age of forty, the studios worry about baleful box offices
as films like "On Golden Pond" fail to bring in the MTV crowd.
"About Schmidt" is one of the exceptions. Dealing with a fellow
who has turned sixty-six years of age, the film might be
considered good at art, less sanguine at commerce, since after
all, would the youthful audience want to look at a codger who
rarely smiles, who is not on the make, and who is tossed onto the
dustbin by both his profession and his family? The big difference
here is that Warren Schmidt is played by Jack Nicholson in a lead
performance called by Hollywood Reporter online "sublime" and "a
tough act to follow." Yet while Michael Rechtshaffen of that trade
paper calls the movie "blisteringly funny," he gives his readers the
idea that this is a no-holds-barred laugh fest when in fact it is
something better: "About Schmidt" is a family comedy replete
with Checkhovian themes more comparable to that playwright's
"Uncle Vanya" than to Jay Roach's "Meet the Parents."
Though "About Schmidt" can be read as a Sinclair Lewis-style
put-down of Midwestern blandness and babbitry, director
Alexander Payne together with his co-scripter Jim Taylor has
more important issues in mind. The film should be seen as an
Everyman story, perhaps a warning to those of us who are still
short of senior citizenhood to seize the day, possibly as an
existential cri de coeur on the theme of loneliness, alienation, and
the meaningless that many of us feel our lives have becomes and
the banality of human existence.
Schmidt (Jack Nicholson) has just retired from his job as
assistant Vice President of Woodmen Insurance Co. after thirty-
two years' service. After hearing a round of hackneyed speeches
at his retirement party and suffering the cockiness of his much
younger replacement who has no use for his advice, he has yet
more crosses to bear. His wife Helen (June Squibb) has suddenly
died and Schmidt, who had been irritated by everything she does
("Who is this old woman who is living in my house?") begins to
miss her terribly. He uses the Winnebago Adventurer with which
he and his wife planned to use to tour the country to head out to
Denver where his daughter Jeannie (Hope Davis) is to be married
to a waterbed salesman, Randall Hertzel (Dermot Mulroney as
unrecognizable as "The Hours"' Nicole Kidman). Warren thinks
little of his future son-in-law and tries to convince his little girl not
to marry the klutz: we wonder whether he really opposes Hertzel's
character or whether he simply does not want to give up the last
significant human being in his life.
"About Schmidt" is blessed by a smashing supporting
performance from Kathy Bates as Jeannie's future mother-in-law,
Roberta Hertzel, a liberated woman who speaks openly about her
hysterectomy, about the sexuality which she felt since the age of
six, and her belief that Warren should have nothing to worry about
since his daughter and son-in-law will always be great "between
the sheets." The funniest scene has Roberta climbing into a hot
tub just after Warren's immersion pendulous breasts swinging as
she hits on the terminally embarrassed retiree.
Jack Nicholson carries the movie, appearing in every scene, his
signature facial expressions making dialogue almost
unnecessary. The voice-overs, done unobtrusively in the form of
letters that Warren has been writing to a six-year-old Tanzanian
boy he has "adopted" by sending him twenty-two dollars each
month, fill the gaps in the narrative fortuitously.
In Checkhov's "Uncle Vanya," the title character, who has spent
his life working the estate of a pompous professor, ultimately
leave the grounds, looking forward to an uneventful, barely
bearable routine that had become his way of life. That Alexander
Payne, whose previous, edgy works like "Election" (which spoofs
American politics) and "Dear Ruth" (which shows the absurdity of
both sides on the abortion debate), can be compared to Chekhov
is no small tribute.
Copyright © 2002 Harvey Karten
|