Favorite director Bill Forsyth lends his knack for droll understatement to a screenplay by John Sayles, a crime tale that opts for keen character study and doesn’t stretch credibility. Burt Reynolds has a gem of a role as a career burglar doing his bit for the next generation, showing a ‘new guy’ the ins and outs of thievery; Casey Siemaszko is his thick-headed but resolutely faithful assistant on several outrageous heists. The criminal life almost doesn’t seem too terrible — except for the going-to-prison part. The disc commentary with Forsyth and Sayles is a great listen.
Breaking In
Blu-ray
Kl Studio Classics
1989 / Color / 1:85 widescreen / 94 min. / Street Date January 11, 2022 / available through Kino Lorber / 24.95
Starring: Burt Reynolds, Casey Siemaszko, Sheila Kelley, Lorraine Toussaint, Albert Salmi, Harry Carey Jr., Maury Chaykin, Stephen Tobolowsky.
Cinematography: Michael Coulter
Production Designer: Adrienne Atkinson
Film Editor: Michael Ellis
Original Music: Michael Gibbs
Written by John...
Breaking In
Blu-ray
Kl Studio Classics
1989 / Color / 1:85 widescreen / 94 min. / Street Date January 11, 2022 / available through Kino Lorber / 24.95
Starring: Burt Reynolds, Casey Siemaszko, Sheila Kelley, Lorraine Toussaint, Albert Salmi, Harry Carey Jr., Maury Chaykin, Stephen Tobolowsky.
Cinematography: Michael Coulter
Production Designer: Adrienne Atkinson
Film Editor: Michael Ellis
Original Music: Michael Gibbs
Written by John...
- 1/15/2022
- by Glenn Erickson
- Trailers from Hell
Theaters are shut, production postponed, dealmaking stalled and writers are twisting in the wind. Given these conditions, it’s perversely appropriate that the hottest new book about the movie business is focused on an angst-ridden writer. The Big Goodbye doesn’t try to make the writing trade seem like fun, but the creation of Chinatown is steeped in so much drama and pathos that Sam Wasson’s book has propelled itself onto bestseller lists.
In writing his Chinatown script, Bob Towne’s agony was such that he became the only writer I can recall who actually hired his own ghost writer. And paid him. (Towne himself wrote almost all the script.)
More from DeadlinePeter Bart: 'Social Distancing' Will Also Expand Our Digital DependencyCésar Awards: Roman Polanski Wins Spark Strong Reaction; Adèle Haenel Exits CeremonyCésar Awards: Roman Polanski Wins Best Director, Spurring Walkouts; Ladj Ly's 'Les Misérables' Best Film -...
In writing his Chinatown script, Bob Towne’s agony was such that he became the only writer I can recall who actually hired his own ghost writer. And paid him. (Towne himself wrote almost all the script.)
More from DeadlinePeter Bart: 'Social Distancing' Will Also Expand Our Digital DependencyCésar Awards: Roman Polanski Wins Spark Strong Reaction; Adèle Haenel Exits CeremonyCésar Awards: Roman Polanski Wins Best Director, Spurring Walkouts; Ladj Ly's 'Les Misérables' Best Film -...
- 3/20/2020
- by Peter Bart
- Deadline Film + TV
Harry Gittes, who produced the Jack Nicholson films Drive, He Said; Goin' South and About Schmidt and was the namesake for the actor's gumshoe character in Chinatown, has died. He was 81.
Gittes died Saturday of natural causes in Los Angeles, publicist Seth Horowitz reported.
Gittes also produced Harry and Walter Go to New York (1976), starring James Caan, Elliott Gould, Michael Caine and Diane Keaton; Richard Benjamin's Little Nikita (1988), starring Sidney Poitier and River Phoenix; Breaking In (1989), written by John Sayles and starring Burt Reynolds; and The Girl Next Door (2004), starring Emile Hirsch.
Born on May 6, 1936, in...
Gittes died Saturday of natural causes in Los Angeles, publicist Seth Horowitz reported.
Gittes also produced Harry and Walter Go to New York (1976), starring James Caan, Elliott Gould, Michael Caine and Diane Keaton; Richard Benjamin's Little Nikita (1988), starring Sidney Poitier and River Phoenix; Breaking In (1989), written by John Sayles and starring Burt Reynolds; and The Girl Next Door (2004), starring Emile Hirsch.
Born on May 6, 1936, in...
- 9/5/2017
- by Mike Barnes
- The Hollywood Reporter - Movie News
Screenwriter and filmmaker Robert Towne.
Forget It Bob, It’S Chinatown
Robert Towne looks back on Chinatown’s 35th anniversary
By
Alex Simon
The haunting trumpet wailing plaintively over the closing credits. The bandage covering star Jack Nicholson’s nose. The best last line of a movie, ever: “Forget it, Jake. It’s Chinatown"; all elements of a film now regarded by scholars, critics and cinefiles alike as one of the greatest pieces of American celluloid ever made. Chinatown was a collaboration between a who’s-who of ‘70s film icons. Directed by Roman Polanski, produced by Robert Evans, written by Robert Towne, starring Nicholson and Faye Dunaway, shot by John Alonso, and scored by Jerry Goldsmith, Chinatown was nominated for 11 Academy Awards in 1974, but brought home only one: for its writer. Robert Towne was barely 40, and Chinatown his first produced original screenplay, his previous efforts having been literary adaptations, such as 1973’s The Last Detail.
Forget It Bob, It’S Chinatown
Robert Towne looks back on Chinatown’s 35th anniversary
By
Alex Simon
The haunting trumpet wailing plaintively over the closing credits. The bandage covering star Jack Nicholson’s nose. The best last line of a movie, ever: “Forget it, Jake. It’s Chinatown"; all elements of a film now regarded by scholars, critics and cinefiles alike as one of the greatest pieces of American celluloid ever made. Chinatown was a collaboration between a who’s-who of ‘70s film icons. Directed by Roman Polanski, produced by Robert Evans, written by Robert Towne, starring Nicholson and Faye Dunaway, shot by John Alonso, and scored by Jerry Goldsmith, Chinatown was nominated for 11 Academy Awards in 1974, but brought home only one: for its writer. Robert Towne was barely 40, and Chinatown his first produced original screenplay, his previous efforts having been literary adaptations, such as 1973’s The Last Detail.
- 11/4/2009
- by The Hollywood Interview.com
- The Hollywood Interview
Opens
Friday, March 12
A sharp, vivacious comedy that pairs a straight-arrow high-schooler and a former porn star, "The Girl Next Door" marks its director and scripters as talents to watch and affirms that its young star, Emile Hirsch, is a big-screen natural. As the title character, Elisha Cuthbert will be a draw, as will the film's no-nonsense attitude toward sex. After "Girl"'s sneak Friday, word-of-mouth among younger audiences should contribute to a strong bow next month for Fox.
Hirsch stars as Matthew, an overachieving high school senior who idolizes JFK and plans a career in politics. As president of the student council, he's raised $25,000 to bring Cambodian teen Samnang (Ulysses Lee), a nerdy mathematical genius, from his jungle village to the upper-middle-class comfort of Westport High. It's a running joke that loses steam, though the Samnang funds provide a key plot point. While most of the senior class is preoccupied with Prom Fever and trips to the beach, Matthew is consumed with a college scholarship competition that requires a speech on the subject of moral fiber. Enter the gorgeous girl next door.
Adventurous Danielle Cuthbert, of "24"), who's house-sitting for her aunt, is the same age as Matthew but worlds more experienced, and she goads him into doing something his packed schedule has never permitted -- having fun. Adopting her mantra -- "Just go with it" -- Matthew Falls for the mysterious Danielle, and she's drawn to his earnestness and decency. Soon after they share their first, very public kiss, Matthew learns more about her recent past, courtesy of his tough-talking friend Eli, a sex-obsessed virgin (terrific work by Chris Marquette of "Joan of Arcadia"). The sweet blonde, who told Matthew she recently quit her job in order to start over, is also the sensual brunette Athena, star of porn videos.
In another era, Danielle would be a fallen woman seeking redemption. Reflecting more open times, the script by Stuart Blumberg, David T. Wagner and Brent Goldberg makes no apologies for her past. "Girl" views the sex business as a bizarre free enterprise whose practitioners have a slightly dumb openness -- Danielle being the exception. Darker aspects are avoided, though there are allusions to male filmmakers as pimps collecting female talent. Along those lines, the unpredictable Kelly (Timothy Olyphant) and his former partner, porn mogul Hugo Posh (James Remar), are separately trying to lure Danielle back to the screen, with Matthew caught in the middle.
It's fine to eschew sociology, but because the film offers no background for Danielle or motivation for her career choice (besides money), she remains too much of a fantasy figure, notwithstanding the warmth and humor Cuthbert brings to this dream girl with her feet on the ground.
Still, the collision of innocence and experience unfolds with high energy under the helm of Luke Greenfield ("The Animal"). The story's concessions to formula conventions -- the importance of prom, the lesson learned -- have a novel twist. Greenfield makes fine use of fantasy sequences, finding the giddy edge in screwball and slapstick scenes and capturing the laissez faire culture of high school.
As Matthew's best friends and co-conspirators in an unusual extracurricular project, Marquette and Paul Dano ("L.I.E".) provide strong support. Occupying a parallel world of benign ineptitude are Westport's adults -- among them Timothy Bottoms as Matthew's dad.
Toplining the able cast, Hirsch ("The Dangerous Lives of Altar Boys," "The Emperor's Club") displays leading-man charisma, sincerity and outstanding comic abilities -- just watch him in the scenes when Matthew finds himself dosed with Ecstasy.
The spirited music soundtrack, which includes a few boomer-friendly rock and blues numbers, underlines the sense of teen rebellion. The technical package is polished, with production designer Stephen Lineweaver credibly creating a wide range of settings, from staid suburban interiors to the lurid explosion of kitsch at an adult-film convention in Las Vegas.
THE GIRL NEXT DOOR
20th Century Fox
Regency Enterprises presents
a New Regency production
Credits:
Director: Luke Greenfield
Screenwriters: Stuart Blumberg, David T. Wagner, Brent Goldberg
Producers: Charles Gordon, Harry Gittes, Marc Sternberg
Executive producers: Arnon Milchan, Guy Riedel
Director of photography: Jamie Anderson
Production designer: Stephen Lineweaver
Music: Paul Haslinger
Co-producer: Richard Wenk
Costume designer: Marilyn Vance
Editor: Mark Livolsi
Cast:
Matthew Kidman: Emile Hirsch
Danielle: Elisha Cuthbert
Kelly: Timothy Olyphant
Hugo Posh: James Remar
Eli: Chris Marquette
Klitz: Paul Dano
Mr. Kidman: Timothy Bottoms
Samnang: Ulysses Lee
Running time -- 109 minutes
MPAA rating: R...
Friday, March 12
A sharp, vivacious comedy that pairs a straight-arrow high-schooler and a former porn star, "The Girl Next Door" marks its director and scripters as talents to watch and affirms that its young star, Emile Hirsch, is a big-screen natural. As the title character, Elisha Cuthbert will be a draw, as will the film's no-nonsense attitude toward sex. After "Girl"'s sneak Friday, word-of-mouth among younger audiences should contribute to a strong bow next month for Fox.
Hirsch stars as Matthew, an overachieving high school senior who idolizes JFK and plans a career in politics. As president of the student council, he's raised $25,000 to bring Cambodian teen Samnang (Ulysses Lee), a nerdy mathematical genius, from his jungle village to the upper-middle-class comfort of Westport High. It's a running joke that loses steam, though the Samnang funds provide a key plot point. While most of the senior class is preoccupied with Prom Fever and trips to the beach, Matthew is consumed with a college scholarship competition that requires a speech on the subject of moral fiber. Enter the gorgeous girl next door.
Adventurous Danielle Cuthbert, of "24"), who's house-sitting for her aunt, is the same age as Matthew but worlds more experienced, and she goads him into doing something his packed schedule has never permitted -- having fun. Adopting her mantra -- "Just go with it" -- Matthew Falls for the mysterious Danielle, and she's drawn to his earnestness and decency. Soon after they share their first, very public kiss, Matthew learns more about her recent past, courtesy of his tough-talking friend Eli, a sex-obsessed virgin (terrific work by Chris Marquette of "Joan of Arcadia"). The sweet blonde, who told Matthew she recently quit her job in order to start over, is also the sensual brunette Athena, star of porn videos.
In another era, Danielle would be a fallen woman seeking redemption. Reflecting more open times, the script by Stuart Blumberg, David T. Wagner and Brent Goldberg makes no apologies for her past. "Girl" views the sex business as a bizarre free enterprise whose practitioners have a slightly dumb openness -- Danielle being the exception. Darker aspects are avoided, though there are allusions to male filmmakers as pimps collecting female talent. Along those lines, the unpredictable Kelly (Timothy Olyphant) and his former partner, porn mogul Hugo Posh (James Remar), are separately trying to lure Danielle back to the screen, with Matthew caught in the middle.
It's fine to eschew sociology, but because the film offers no background for Danielle or motivation for her career choice (besides money), she remains too much of a fantasy figure, notwithstanding the warmth and humor Cuthbert brings to this dream girl with her feet on the ground.
Still, the collision of innocence and experience unfolds with high energy under the helm of Luke Greenfield ("The Animal"). The story's concessions to formula conventions -- the importance of prom, the lesson learned -- have a novel twist. Greenfield makes fine use of fantasy sequences, finding the giddy edge in screwball and slapstick scenes and capturing the laissez faire culture of high school.
As Matthew's best friends and co-conspirators in an unusual extracurricular project, Marquette and Paul Dano ("L.I.E".) provide strong support. Occupying a parallel world of benign ineptitude are Westport's adults -- among them Timothy Bottoms as Matthew's dad.
Toplining the able cast, Hirsch ("The Dangerous Lives of Altar Boys," "The Emperor's Club") displays leading-man charisma, sincerity and outstanding comic abilities -- just watch him in the scenes when Matthew finds himself dosed with Ecstasy.
The spirited music soundtrack, which includes a few boomer-friendly rock and blues numbers, underlines the sense of teen rebellion. The technical package is polished, with production designer Stephen Lineweaver credibly creating a wide range of settings, from staid suburban interiors to the lurid explosion of kitsch at an adult-film convention in Las Vegas.
THE GIRL NEXT DOOR
20th Century Fox
Regency Enterprises presents
a New Regency production
Credits:
Director: Luke Greenfield
Screenwriters: Stuart Blumberg, David T. Wagner, Brent Goldberg
Producers: Charles Gordon, Harry Gittes, Marc Sternberg
Executive producers: Arnon Milchan, Guy Riedel
Director of photography: Jamie Anderson
Production designer: Stephen Lineweaver
Music: Paul Haslinger
Co-producer: Richard Wenk
Costume designer: Marilyn Vance
Editor: Mark Livolsi
Cast:
Matthew Kidman: Emile Hirsch
Danielle: Elisha Cuthbert
Kelly: Timothy Olyphant
Hugo Posh: James Remar
Eli: Chris Marquette
Klitz: Paul Dano
Mr. Kidman: Timothy Bottoms
Samnang: Ulysses Lee
Running time -- 109 minutes
MPAA rating: R...
Opens
Friday, March 12
A sharp, vivacious comedy that pairs a straight-arrow high-schooler and a former porn star, "The Girl Next Door" marks its director and scripters as talents to watch and affirms that its young star, Emile Hirsch, is a big-screen natural. As the title character, Elisha Cuthbert will be a draw, as will the film's no-nonsense attitude toward sex. After "Girl"'s sneak Friday, word-of-mouth among younger audiences should contribute to a strong bow next month for Fox.
Hirsch stars as Matthew, an overachieving high school senior who idolizes JFK and plans a career in politics. As president of the student council, he's raised $25,000 to bring Cambodian teen Samnang (Ulysses Lee), a nerdy mathematical genius, from his jungle village to the upper-middle-class comfort of Westport High. It's a running joke that loses steam, though the Samnang funds provide a key plot point. While most of the senior class is preoccupied with Prom Fever and trips to the beach, Matthew is consumed with a college scholarship competition that requires a speech on the subject of moral fiber. Enter the gorgeous girl next door.
Adventurous Danielle (Cuthbert, of "24"), who's house-sitting for her aunt, is the same age as Matthew but worlds more experienced, and she goads him into doing something his packed schedule has never permitted -- having fun. Adopting her mantra -- "Just go with it" -- Matthew Falls for the mysterious Danielle, and she's drawn to his earnestness and decency. Soon after they share their first, very public kiss, Matthew learns more about her recent past, courtesy of his tough-talking friend Eli, a sex-obsessed virgin (terrific work by Chris Marquette of "Joan of Arcadia"). The sweet blonde, who told Matthew she recently quit her job in order to start over, is also the sensual brunette Athena, star of porn videos.
In another era, Danielle would be a fallen woman seeking redemption. Reflecting more open times, the script by Stuart Blumberg, David T. Wagner and Brent Goldberg makes no apologies for her past. "Girl" views the sex business as a bizarre free enterprise whose practitioners have a slightly dumb openness -- Danielle being the exception. Darker aspects are avoided, though there are allusions to male filmmakers as pimps collecting female talent. Along those lines, the unpredictable Kelly (Timothy Olyphant) and his former partner, porn mogul Hugo Posh (James Remar), are separately trying to lure Danielle back to the screen, with Matthew caught in the middle.
It's fine to eschew sociology, but because the film offers no background for Danielle or motivation for her career choice (besides money), she remains too much of a fantasy figure, notwithstanding the warmth and humor Cuthbert brings to this dream girl with her feet on the ground.
Still, the collision of innocence and experience unfolds with high energy under the helm of Luke Greenfield ("The Animal"). The story's concessions to formula conventions -- the importance of prom, the lesson learned -- have a novel twist. Greenfield makes fine use of fantasy sequences, finding the giddy edge in screwball and slapstick scenes and capturing the laissez faire culture of high school.
As Matthew's best friends and co-conspirators in an unusual extracurricular project, Marquette and Paul Dano ("L.I.E".) provide strong support. Occupying a parallel world of benign ineptitude are Westport's adults -- among them Timothy Bottoms as Matthew's dad.
Toplining the able cast, Hirsch ("The Dangerous Lives of Altar Boys," "The Emperor's Club") displays leading-man charisma, sincerity and outstanding comic abilities -- just watch him in the scenes when Matthew finds himself dosed with Ecstasy.
The spirited music soundtrack, which includes a few boomer-friendly rock and blues numbers, underlines the sense of teen rebellion. The technical package is polished, with production designer Stephen Lineweaver credibly creating a wide range of settings, from staid suburban interiors to the lurid explosion of kitsch at an adult-film convention in Las Vegas.
THE GIRL NEXT DOOR
20th Century Fox
Regency Enterprises presents
a New Regency production
Credits:
Director: Luke Greenfield
Screenwriters: Stuart Blumberg, David T. Wagner, Brent Goldberg
Producers: Charles Gordon, Harry Gittes, Marc Sternberg
Executive producers: Arnon Milchan, Guy Riedel
Director of photography: Jamie Anderson
Production designer: Stephen Lineweaver
Music: Paul Haslinger
Co-producer: Richard Wenk
Costume designer: Marilyn Vance
Editor: Mark Livolsi
Cast:
Matthew Kidman: Emile Hirsch
Danielle: Elisha Cuthbert
Kelly: Timothy Olyphant
Hugo Posh: James Remar
Eli: Chris Marquette
Klitz: Paul Dano
Mr. Kidman: Timothy Bottoms
Samnang: Ulysses Lee
Running time -- 109 minutes
MPAA rating: R...
Friday, March 12
A sharp, vivacious comedy that pairs a straight-arrow high-schooler and a former porn star, "The Girl Next Door" marks its director and scripters as talents to watch and affirms that its young star, Emile Hirsch, is a big-screen natural. As the title character, Elisha Cuthbert will be a draw, as will the film's no-nonsense attitude toward sex. After "Girl"'s sneak Friday, word-of-mouth among younger audiences should contribute to a strong bow next month for Fox.
Hirsch stars as Matthew, an overachieving high school senior who idolizes JFK and plans a career in politics. As president of the student council, he's raised $25,000 to bring Cambodian teen Samnang (Ulysses Lee), a nerdy mathematical genius, from his jungle village to the upper-middle-class comfort of Westport High. It's a running joke that loses steam, though the Samnang funds provide a key plot point. While most of the senior class is preoccupied with Prom Fever and trips to the beach, Matthew is consumed with a college scholarship competition that requires a speech on the subject of moral fiber. Enter the gorgeous girl next door.
Adventurous Danielle (Cuthbert, of "24"), who's house-sitting for her aunt, is the same age as Matthew but worlds more experienced, and she goads him into doing something his packed schedule has never permitted -- having fun. Adopting her mantra -- "Just go with it" -- Matthew Falls for the mysterious Danielle, and she's drawn to his earnestness and decency. Soon after they share their first, very public kiss, Matthew learns more about her recent past, courtesy of his tough-talking friend Eli, a sex-obsessed virgin (terrific work by Chris Marquette of "Joan of Arcadia"). The sweet blonde, who told Matthew she recently quit her job in order to start over, is also the sensual brunette Athena, star of porn videos.
In another era, Danielle would be a fallen woman seeking redemption. Reflecting more open times, the script by Stuart Blumberg, David T. Wagner and Brent Goldberg makes no apologies for her past. "Girl" views the sex business as a bizarre free enterprise whose practitioners have a slightly dumb openness -- Danielle being the exception. Darker aspects are avoided, though there are allusions to male filmmakers as pimps collecting female talent. Along those lines, the unpredictable Kelly (Timothy Olyphant) and his former partner, porn mogul Hugo Posh (James Remar), are separately trying to lure Danielle back to the screen, with Matthew caught in the middle.
It's fine to eschew sociology, but because the film offers no background for Danielle or motivation for her career choice (besides money), she remains too much of a fantasy figure, notwithstanding the warmth and humor Cuthbert brings to this dream girl with her feet on the ground.
Still, the collision of innocence and experience unfolds with high energy under the helm of Luke Greenfield ("The Animal"). The story's concessions to formula conventions -- the importance of prom, the lesson learned -- have a novel twist. Greenfield makes fine use of fantasy sequences, finding the giddy edge in screwball and slapstick scenes and capturing the laissez faire culture of high school.
As Matthew's best friends and co-conspirators in an unusual extracurricular project, Marquette and Paul Dano ("L.I.E".) provide strong support. Occupying a parallel world of benign ineptitude are Westport's adults -- among them Timothy Bottoms as Matthew's dad.
Toplining the able cast, Hirsch ("The Dangerous Lives of Altar Boys," "The Emperor's Club") displays leading-man charisma, sincerity and outstanding comic abilities -- just watch him in the scenes when Matthew finds himself dosed with Ecstasy.
The spirited music soundtrack, which includes a few boomer-friendly rock and blues numbers, underlines the sense of teen rebellion. The technical package is polished, with production designer Stephen Lineweaver credibly creating a wide range of settings, from staid suburban interiors to the lurid explosion of kitsch at an adult-film convention in Las Vegas.
THE GIRL NEXT DOOR
20th Century Fox
Regency Enterprises presents
a New Regency production
Credits:
Director: Luke Greenfield
Screenwriters: Stuart Blumberg, David T. Wagner, Brent Goldberg
Producers: Charles Gordon, Harry Gittes, Marc Sternberg
Executive producers: Arnon Milchan, Guy Riedel
Director of photography: Jamie Anderson
Production designer: Stephen Lineweaver
Music: Paul Haslinger
Co-producer: Richard Wenk
Costume designer: Marilyn Vance
Editor: Mark Livolsi
Cast:
Matthew Kidman: Emile Hirsch
Danielle: Elisha Cuthbert
Kelly: Timothy Olyphant
Hugo Posh: James Remar
Eli: Chris Marquette
Klitz: Paul Dano
Mr. Kidman: Timothy Bottoms
Samnang: Ulysses Lee
Running time -- 109 minutes
MPAA rating: R...
- 2/23/2004
- The Hollywood Reporter - Movie News
This review was written for the Cannes Film Festival screening of About Schmidt.
The hints of satiric brilliance director Alexander Payne and his writing partner Jim Taylor exhibited in Election and, before that, Citizen Ruth, have ripened into the blisteringly funny and equally moving About Schmidt.
While the film, an acutely observed tragicomedy navigating the uncharted boundaries of human behavior, is quite remarkable on its own considerable merits, it's a commanding Jack Nicholson lead performance that puts it into a sublime league of its own.
Whether that's enough to put visions of Palmes d'Or dancing in the heads of this year's Cannes jury remains to be seen, but Nicholson's going to prove to be a tough act to follow.
No matter what happens Sunday, "Schmidt" is destined to be a year-end awards contender and easily Payne's strongest boxoffice performer to date.
From the moment we first lay eyes on him, Nicholson's Warren Schmidt is clearly a beaten-down man.
After spending most of his life as an actuary at Omaha's Woodmen of the World Insurance Co., he is minutes away from his retirement. Staring numbly up at the office clock, he regards the few remaining seconds of his last working day with all the enthusiasm of a death row prisoner.
The prospect of his remaining golden years provides little in the way of solace. Waiting for him back home is his wife of 42 years, Helen (June Squibb), who has successfully trained him to pee sitting down so there'll never be any question of leaving the toilet seat up. A new 35-foot motor home waits to whisk them away to destinations unknown as well as Denver, where their only daughter, Jeannie (Hope Davis), is about to marry the underachieving Randall (Dermot Mulroney), a waterbed sales dude with a thinning mullet.
Desperate to find a shred of purpose in his life, Schmidt absent-mindedly flips through the vast wasteland that is late-night television when he comes across an adopt-an-orphan infomercial hosted by Angela Lansbury.
Schmidt soon finds himself writing detailed letters to Ndugu, his new 6 year-old Tanzanian foster child. And with the sudden death of his wife propelling him on a journey of self-discovery, there's going to be no shortage of things to write about.
A synthesis of a book of the same name by Louis Begley and an early script Payne wrote called "The Coward," " Schmidt" is filled with quiet, little surprises and Teflon-smooth mood-shifts.
It's not unusual for a scene to start off side-splittingly funny and turn, quite unexpectedly, profoundly affecting, then back again without ever feeling manufactured or inappropriate.
But as good as things get there simply wouldn't be a "Schmidt" without Jack.
He's never been better, or funnier, or more touching, exhibiting the kind of command of nuance that could only have arrived at this point in a career full of great performances.
He also proves to be a master of understated physical comedy, whether attempting to calm a water bed or feeling the still-potent effects of a handful of expired Percodan left over from the groom-to-be's mother's (a wonderful Kathy Bates) hysterectomy.
Together, Nicholson and Payne (and Taylor) make for one Cannes dream team.
ABOUT SCHMIDT
New Line/Metropolitan Film Export
Credits:
Director: Alexander Payne
Screenwriters: Alexander Payne, Jim Taylor
Producers: Harry Gittes, Michael Besman
Executive producer: Bill Badalato
Director of photography: James Glennon
Production designer: Jane Ann Stewart
Editor: Kevin Tent
Costume designer: Wendy Chuck
Music: Rolfe Kent
Cast:
Warren Schmidt: Jack Nicholson
Roberta Hertzel: Kathy Bates
Jeannie: Hope Davis
Randall Hertzel: Dermot Mulroney
Larry: Howard Hesseman
Ray: Len Cariou
Helen Schmidt: June Squibb.
Running time -- 125 minutes
MPAA rating: R...
The hints of satiric brilliance director Alexander Payne and his writing partner Jim Taylor exhibited in Election and, before that, Citizen Ruth, have ripened into the blisteringly funny and equally moving About Schmidt.
While the film, an acutely observed tragicomedy navigating the uncharted boundaries of human behavior, is quite remarkable on its own considerable merits, it's a commanding Jack Nicholson lead performance that puts it into a sublime league of its own.
Whether that's enough to put visions of Palmes d'Or dancing in the heads of this year's Cannes jury remains to be seen, but Nicholson's going to prove to be a tough act to follow.
No matter what happens Sunday, "Schmidt" is destined to be a year-end awards contender and easily Payne's strongest boxoffice performer to date.
From the moment we first lay eyes on him, Nicholson's Warren Schmidt is clearly a beaten-down man.
After spending most of his life as an actuary at Omaha's Woodmen of the World Insurance Co., he is minutes away from his retirement. Staring numbly up at the office clock, he regards the few remaining seconds of his last working day with all the enthusiasm of a death row prisoner.
The prospect of his remaining golden years provides little in the way of solace. Waiting for him back home is his wife of 42 years, Helen (June Squibb), who has successfully trained him to pee sitting down so there'll never be any question of leaving the toilet seat up. A new 35-foot motor home waits to whisk them away to destinations unknown as well as Denver, where their only daughter, Jeannie (Hope Davis), is about to marry the underachieving Randall (Dermot Mulroney), a waterbed sales dude with a thinning mullet.
Desperate to find a shred of purpose in his life, Schmidt absent-mindedly flips through the vast wasteland that is late-night television when he comes across an adopt-an-orphan infomercial hosted by Angela Lansbury.
Schmidt soon finds himself writing detailed letters to Ndugu, his new 6 year-old Tanzanian foster child. And with the sudden death of his wife propelling him on a journey of self-discovery, there's going to be no shortage of things to write about.
A synthesis of a book of the same name by Louis Begley and an early script Payne wrote called "The Coward," " Schmidt" is filled with quiet, little surprises and Teflon-smooth mood-shifts.
It's not unusual for a scene to start off side-splittingly funny and turn, quite unexpectedly, profoundly affecting, then back again without ever feeling manufactured or inappropriate.
But as good as things get there simply wouldn't be a "Schmidt" without Jack.
He's never been better, or funnier, or more touching, exhibiting the kind of command of nuance that could only have arrived at this point in a career full of great performances.
He also proves to be a master of understated physical comedy, whether attempting to calm a water bed or feeling the still-potent effects of a handful of expired Percodan left over from the groom-to-be's mother's (a wonderful Kathy Bates) hysterectomy.
Together, Nicholson and Payne (and Taylor) make for one Cannes dream team.
ABOUT SCHMIDT
New Line/Metropolitan Film Export
Credits:
Director: Alexander Payne
Screenwriters: Alexander Payne, Jim Taylor
Producers: Harry Gittes, Michael Besman
Executive producer: Bill Badalato
Director of photography: James Glennon
Production designer: Jane Ann Stewart
Editor: Kevin Tent
Costume designer: Wendy Chuck
Music: Rolfe Kent
Cast:
Warren Schmidt: Jack Nicholson
Roberta Hertzel: Kathy Bates
Jeannie: Hope Davis
Randall Hertzel: Dermot Mulroney
Larry: Howard Hesseman
Ray: Len Cariou
Helen Schmidt: June Squibb.
Running time -- 125 minutes
MPAA rating: R...
- 12/16/2002
- The Hollywood Reporter - Movie News
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