
The essay is less a plot summary than an attempt to connect that floating feeling after a funeral with the question of what later-life welfare should actually hold.
A Korean essay on Alexander Payne’s 2002 film About Schmidt begins with a plain thought: growing older is a natural change, and it still brings shifts in the body, in the mind, and in how a person holds a day together. Anyone, the writer says, has to wonder how to take that change and how to steady the heart. The film, with Jack Nicholson as Warren Schmidt, is used because it makes the inward conflict of a retired man hard to look away from.
Schmidt has left work. A trip with his wife is supposed to follow. What follows instead, in the essay’s account, is a return home to a death he was not prepared to see.
The writer dwells on the moment Schmidt comes into the house and finds his wife already collapsed, the journey she had been waiting for left behind. He prepares the funeral and cannot quite believe where he is. The feeling, the essay says, is of floating: the ground of the household has gone, and nothing yet has taken its place.
A daughter and a son-in-law enter the edge of that scene, as people who hear the news and arrive. The essay does not turn their arrival into a long family study. It keeps the camera, so to speak, on the man who has to arrange a burial and does not yet know what his days are for.
The assignment behind the essay is to connect the film with later-life welfare: to look at a social problem through one man’s shock, and to think about what would have to improve. The writer is cautious. A film cannot design a benefit. It can show what it is like when work has ended and a partner is suddenly gone, and when a person is left holding a calendar that no longer means what it meant.
Later-life welfare, in this account, has to be about more than a date of retirement. It has to have room for the floating that follows a funeral, and for the ordinary need to find a next day. A longer Korean version of this account is on CampusDown.
Last updated 15 November 2026
Alexander Payne directed the 2002 film, loosely from Louis Begley’s novel. Jack Nicholson plays Warren Schmidt, a newly retired man whose planned life with his wife collapses when she dies.
Schmidt comes home and finds his wife, who had been waiting for a trip after his retirement, collapsed and dead. Preparing the funeral, he cannot quite believe the situation, and feels as if he is floating.
Because the essay wants to join a private shock — retirement, bereavement, a loosened sense of the ground — to a public question: what kind of support later life actually needs when work has ended and a household suddenly changes.
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