Jack Nicholson shines in his sensitive, tour de force performance as Warren Schmidt, the vice president of an insurance company who finds retirement anything but fulfilling. In fact, his world starts to crumble in short order, along with his relationships, his priorities and his very sanity. A superficial reading would pigeonhole Schmidt as Willy Loman retread, minus the heart condition, but Alexander Payne plumbs deeper emotional currents with this fabulous film – the sort of film that reminds you why you go to movies in the first status. To the director’s credit, the film never crosses the line (so well-liked in today’s Hollywood “output”) of ridiculing its characters and their sensibilities. Design no mistake: Midwestern middle-class values go under the magnifying glass, but unbiased when the viewer starts to feel agreeable, zing! Payne pulls you support from the brink, and you come by yourself caring deeply about Warren Schmidt and his universal jam. The editing, the supporting cast (especially Kathy Bates), and the cinematography are well-nigh perfect, which allow Nicholson to waft. The layers of his character, a man who sees the truth but dares not explain it to the people closest to him, advance to a boil of mixed emotions of inflame, fright and despair by the film’s last scenes and transcendent finale.

This film is about Warren Schmidt, a Nebraskan in his mid sixties, who is newly retired from his job as assistant vice president for an insurance firm. He is clearly a man who is not in touch with his feelings or his life, living it by the book, so to negate. He is disconnected from the reality around him, living as unobtrusively as he can. This is evident proper from the beginning of the film.

His life really begins when he retires, as a series of life jarring changes occur. His wife of forty two years, Helen (June Squibb), suddenly dies. She is a domineering woman whom he loved on some level but for whom he was unable to train grand feeling while she was unexcited living, even though there were many things about her that irritated him. She, however, managed to have had a secret life of which he had not been a piece. It seems that she was not all that elated with Schmidt, herself. It is an unwelcome surprise that colors his world when he discovers it but, at the same time, serves to originate to ease the afflict of separation for him. There are some comic scenes that segue from this discovery.

Their only child, Jeannie (Hope Davis), lives in Denver, Colorado and is about to pick up married to Randall Hertzel (Dermot Mulroney), a dimwitted, waterbed salesman whom Schmidt cannot abide. He learns some truths about the steady residence of his believe relationship with his daughter, Jeannie, and it is not the idealized relationship that he conception he had. In fact, he learns objective how disconnected he is from his daughter, who is really a veritable stranger to him, as was his wife. Moreover, not even his best friend, Ray (Lou Cariou), was whom Schmidt conception him to be.

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When Schmidt travels to Colorado for the wedding, he stays with the groom’s mother, Roberta Hertzel, a remarkable married, earthy, and passionate divorcee, who is comfortable with herself and not terrorized to impart her feelings. She is a sort of flower child/earth mother holdover from the tedious nineteen sixties, early seventies. She tries to obtain a connection with him but this proves to be too remarkable for Schmidt, as he scurries for shroud to the Winnebago in which he travels.

Lacking an emotional connection with any other human being, Schmidt sponsors a six year old-fashioned, Tanzanian child through a charitable agency, and begins sending him letters, detailing his life as he sees it. It is more of a catharsis for Schmidt, rather than an attempt at trusty communication with a child. This arrangement also serves to impart the viewer unbiased how Schmidt perceives his life. When he receives a letter with something the child has sent him, the plan that someone has actually view of him opens the emotional floodgates for Schmidt and unleashes all those repressed feelings of madden, sadness, loss, distress, suffering, in one fell swoop.

Jack Nicholson gives an proper performance as the repressed Midwesterner who only begins to earn in touch with his feelings the slay of his life spectrum. He gives a edifying myth of a man who is making his plot in, what is for him, uncharted territory. Silly, poignant and dusky, it is a performance that is well nuanced. June Squibb is perfectly cast in the role of the Helen, Schmidt’s wife. Her apple cheeked countenance and dumpy, matronly stare exemplify the stereotypic senior citizen housewife. Helen’s penchant for order and cleanliness is brought home by Ms. Squibb’s performance, and Helen fittingly dies while vacuuming the laundry room.

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Kathy Bates is improbable as the somewhat bohemian, earth mother figure in the film. Her remarkable talked about nude scene was natural and in keeping with her role. I applaud her courage in doing it, given the emphasis on thinness in Hollywood. While many reviled her for doing it, hers is a powerful more realistic reflection of what the body of a woman in her fifties or sixties actually looks like. Let me protest you, Jack Nicholson’s body doesn’t ogle powerful better either, but he was not reviled for it. There aloof continues to be a double standard for men and women, when it comes to excess avoirdupois.

Dermot Mulroney is terrific as the sensitive, easy going groom to be who seems to lack the plump quid. Mulroney makes his character quite a likable one. Unfortunately, Hope Davis, as Jeannie Schmidt, serves to build her character a thoroughly bad one. It is unclear, however, whether this was the intended attain. Howard Hesseman is astounding as the groom’s father, Larry Hertzel, and he gets a lot of mileage out of this bit fraction. Lou Cariou is splendid as Schmidt’s erstwhile best friend, Ray.

All in all, this a film well worth watching. The baby boomers out there should choose trace. It is mild not too leisurely to avoid ending up like Schmidt.
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