"About Schmidt" is a summary of the life of an old man. Fortunately, he was made into a movie, and I, the sincere and long talk decades later, might be mistaken for a lonely Alzheimer's. Talking to himself. So I plan to look back on my life in advance, and in the most noteworthy life passages, I will insert some personal confession that maybe no one has the patience to listen to. I can borrow the office of Mr. Schmidt’s insurance company and the paper pad that he just wrote to a Tanzanian orphan. After some time, this office no longer belongs to Mr. Schmidt, he retired. If it were just a job, I would certainly not have the affection that Mr. Schmidt could not give up, and I would not be like his colleagues, commenting generously on a person's entire career at the final reception. I never took the initiative to pursue Mrs. Schmidt when I was young, even if it was a small Christmas card, I saw the angry pen marks left by Mr. Schmidt on the letterhead. Can anyone guess what an old man would say to an unfamiliar six-year-old African child? He complained about his family, complained about his wife, complained about his daughter, complained about his daughter's fiance, complained about the young man who replaced him. When people are old, even the venting of emotions must be carefully controlled.
To evaluate a person, only a eulogy is the most perfect. To evaluate a good actor is nothing more than the depth of understanding of the role, the rhythm of emotional release, or the number of awards. The sixty-six-year-old Mr. Schmidt and the three-time Oscar winner Jack Nicholson, the most similarity is the similarity in age, not a biography. There is no need to think about the appearance of an old man. Trivial and restless, the care of a husband who suddenly lost his wife and a father who seems to be unrequited love can be captured in details on Mr. Schmidt's face. In my understanding, the actor’s emotions belong to the bank’s installment method. The length of time and the number of surges are calculated carefully, with intimacy in complaints, blame in love, and expectation in grievances. The biggest limit is to let people forget the design process in the middle. The so-called natural expression is the most correct misunderstanding and understanding. From "The Last Details" in 1974, to "Flying Over the Cuckoo's Asylum" in 1976, from "Mother and Daughter Love" in 1984 to "Perfectly Beautiful" in 1998, Jack Nicholson's emotional award should be The biggest winner.
I saw such a subtitle related to this movie in a movie magazine, "The only question is who is qualified to evaluate this movie". I don’t know how the right to speak in a movie is granted, just As far as the word qualification is concerned, this self-presupposed context has made people uninterested. My former drama history teacher often hurried into the classroom at 8:30 in the morning. His cheeks were always two excited cigarettes and wine reds. He took out his laptop and a stack of CDs, and his mouth started vaguely. This course has never started and ended. He likes the students' discussions, the two opposing hills standing in a classroom, the passions and debates provoked by kindness. At this time, our teacher was standing in front of an emerald green velvet curtain with his hands in his pockets or holding his chest. I always felt that he had already taken a stand on this argument, just looking for a chance to let his voice rest. His preference for drama conflicts makes all movies that speak on the camera inferior to him, his King Lear, his doll house, his wild ducks, his seagulls, and he wants to sleep with English poetry. Shakespeare’s arms shook a tube of white quill.
In contrast, the intimidation Mr. Schmidt received was only a horrified rejection by the RV hostess. She hit the weakness and helplessness in his heart that he least wanted to be seen. This is the most corrupting scene. . If Mr. Schmidt's act of sniffing the perfume of his dead wife is regarded as a slightly deviated emotion, and Mr. Schmidt standing and peeing again is regarded as an innocence, then this time of embarrassed escape is also an old man. An instant physical impulse while getting the spiritual comfort of a strange woman. This is the end of all the story background explanations, and Mr. Schmidt really started his film journey at this time.
Revisiting the old place is an important stop of this trip. No. 12 Rutgers Street, the worry-free home of young Schmidt, is now an auto parts firm. From the perspective of the shopkeeper, and seeing an old man with gray hair and obesity standing there in a trance, he will definitely mistake him for a tourist from a different place. I am a person who does not have a hometown and cannot objectively regard the city I am in as my hometown. Even though the residents here and I speak the same dialect and have the same eating habits, I still fill in a place name that is unfamiliar in the place of origin of my resume. I imagined that my hometown must have been the same as No. 12 Rutgers Street. But its pronunciation, its smell, and its night will all have blood relatives to me as deep as the sea. When I was old, I might not be able to drive a big RV like Mr. Schmidt and start a short life review. Maybe I'm too old to walk, maybe I'm lying in a hospital bed waiting for a one-time visit by the god of death, maybe I will suddenly die when I bend over. If I did not leave anything, including my child, a stranger destined to have the same surname as me, then a wedding that I did not want will disappear within a second.
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