[Originally published in the Forge Press 20.02.09]
Mendes on the road to glory
Review: Revolutionary Road
Based on Richard Yates’ first novel, Revolutionary Road is the bitter tale of a couple who – in the apparently thriving and innocent 1950s – struggle to cope with their collapsed American Dream and battle to survive their unhappiness.
The tension between the two characters is immediately apparant, Sam Mendes carefully illustrates the strain in a tough-to-watch argument by the side of a highway.
Frank Wheeler (Leonardo DiCaprio) is, or was, a confident man. Spurred on by a love for life, his ambitions to travel and to “feel things” are restricted greatly by the setting he is currently in.
He works a repetitive job, despises his employers, moans about his workmates over frequent Martinis and seduces his secretary – an act which seems almost out of pure apathy for his life and his marriage.
April Wheeler (Kate Winslet) on the other hand is aware of the cracked marriage. An aspiring yet failed actress, she sees their life now as resignation from adventure. And she is right.
Everyone on the street has the same house, similar family situations and even the same routine (which Mendes depicts beautifully with a pivotal scene of April taking out the rubbish to find everyone else has done exactly the same).
April dreams up a plan to escape their entrapment and proposes a move to Paris. Frank agrees.
The Wheelers’ decision to move is not greeted entirely with happiness. The neighbours think it is childish. The local estate agent, Helen Givings (Kathy Bates), will obviously be sad to see them go too.
Yet the Wheelers form a fragile bond with the son of Helen Givings, a mentally damaged mathematician named John (Michael Shannon), who appears to understand their strain.
Shannon’s performance deserves monumental praise. His character is one who, although damaged, is extremely observant. He recognises the reasons as to why the Wheelers want to move. He is the vehicle for the Wheelers’ unspoken feelings: a role which is not always beneficial. Mendes has managed to portray the tension and psychological turmoil of a couple who, blinded by their initial love, have resigned themselves to a life of mundane and tedious actions. If you ever needed a film to make you realise how not to turn out, this is it.
The characters in this film are polarised from the previous collaboration of Winslet and DiCaprio. I do not think I’ve seen a film with more arguments between two main characters. They are miserable, angry, hateful – a couple driven by disappointment, regret and loathing.
Praise must be given to Thomas Newman. The similarities between this score and his work on The Shawshank Redemption are evident, and that is a good thing. A simple piano lead motif again runs throughout the film, before culminating in an orchestral peak towards the final scenes.
Newman’s scores seem to have a way of tapping into a dark, hidden depth of your imagination. They can find that tense heartstring and give it just a little tug, or at times a mighty yank.
Sam Mendes has once again created a film of beauty. His observant ability to capture the small nuances of light, sound and setting are unparalleled. There is one scene in which April stands outside smoking, watched – unbeknown to her – by Frank. The light in this scene is haunting. And that is where Mendes shines. What most of us find hard to describe, he can show.
Mendes has created a chilling and absorbing film of desperation, disappointment and disillusionment that adds another deserved feather to his already crowded cap.
The tension between the two characters is immediately apparant, Sam Mendes carefully illustrates the strain in a tough-to-watch argument by the side of a highway.
Frank Wheeler (Leonardo DiCaprio) is, or was, a confident man. Spurred on by a love for life, his ambitions to travel and to “feel things” are restricted greatly by the setting he is currently in.
He works a repetitive job, despises his employers, moans about his workmates over frequent Martinis and seduces his secretary – an act which seems almost out of pure apathy for his life and his marriage.
April Wheeler (Kate Winslet) on the other hand is aware of the cracked marriage. An aspiring yet failed actress, she sees their life now as resignation from adventure. And she is right.
Everyone on the street has the same house, similar family situations and even the same routine (which Mendes depicts beautifully with a pivotal scene of April taking out the rubbish to find everyone else has done exactly the same).
April dreams up a plan to escape their entrapment and proposes a move to Paris. Frank agrees.
The Wheelers’ decision to move is not greeted entirely with happiness. The neighbours think it is childish. The local estate agent, Helen Givings (Kathy Bates), will obviously be sad to see them go too.
Yet the Wheelers form a fragile bond with the son of Helen Givings, a mentally damaged mathematician named John (Michael Shannon), who appears to understand their strain.
Shannon’s performance deserves monumental praise. His character is one who, although damaged, is extremely observant. He recognises the reasons as to why the Wheelers want to move. He is the vehicle for the Wheelers’ unspoken feelings: a role which is not always beneficial. Mendes has managed to portray the tension and psychological turmoil of a couple who, blinded by their initial love, have resigned themselves to a life of mundane and tedious actions. If you ever needed a film to make you realise how not to turn out, this is it.
The characters in this film are polarised from the previous collaboration of Winslet and DiCaprio. I do not think I’ve seen a film with more arguments between two main characters. They are miserable, angry, hateful – a couple driven by disappointment, regret and loathing.
Praise must be given to Thomas Newman. The similarities between this score and his work on The Shawshank Redemption are evident, and that is a good thing. A simple piano lead motif again runs throughout the film, before culminating in an orchestral peak towards the final scenes.
Newman’s scores seem to have a way of tapping into a dark, hidden depth of your imagination. They can find that tense heartstring and give it just a little tug, or at times a mighty yank.
Sam Mendes has once again created a film of beauty. His observant ability to capture the small nuances of light, sound and setting are unparalleled. There is one scene in which April stands outside smoking, watched – unbeknown to her – by Frank. The light in this scene is haunting. And that is where Mendes shines. What most of us find hard to describe, he can show.
Mendes has created a chilling and absorbing film of desperation, disappointment and disillusionment that adds another deserved feather to his already crowded cap.
Ashley Scrace
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