“Revolutionary Road” is derived from a literary standard that has been taught, analyzed and held dear by many. After mixed response to his often monotonous, ultra-specific Gulf War flick “Jarhead”, critics and fans alike called on Sam Mendes to return to what he did best in “American Beauty” – profiling suburban dystopia and the price of pursuing the American dream. Easier said than done. And yet Mendes has done exactly that in adapting Richard Yates’ 1961 classic. We attended a screening over the weekend, entering with high expectations and leaving for the most part, fulfilled. Leonardo DiCaprio and Kate Winslet drive the film with outstanding performances, Roger Deakins cinematography is top notch, and the material remains faithful to the timeless novel, while retaining an edge and highlighting issues that still exist today.
Frank (DiCaprio) and April (Winslet) Wheeler seem to have it all – two young kids, a stable income and a beautiful house on Revolutionary Road in a serene Connecticut suburb. Frank commutes to New York City every morning, working for the dull Knox Business Machines (one of several aspects “Mad Men” fans will recognize) and struggling to avoid following the path of his father, himself a salesman at Knox. Meanwhile April is left to tend to the house, children and her subsequent boredom. Young and just naive enough, the couple decide to break away from the ennui of the status quo and move to Paris, an idea April pitches and Frank reluctantly accepts. The suggestion is met with bewilderment and skepticism by their neighbors, the conservative, dreary Milly (Kathryn Hann) and Shep (David Harbour) Campbell. Harbour’s performance specifically is haunting, as his arc becomes more prominent in the second half of the film. Additionally, Hellen (Kathy Bates) and Howard (Richard Easton) are an elderly couple that befriended the Wheelers and serve as a cautionary example of the effects of suburban deterioration on a family. Ironically, their son John (Michael Shannon), on leave from a local mental hospital, is often the most morally centered and bluntly honest character in the film.
As the Wheelers pack their bags and prepare to leave, obstacles begin to arise. Frank’s half-hearted idea for Knox is imprudently embraced by Bart Pollock (Jay O. Sanders), a company higher up who wants to offer Frank more money and by default, more hours. Matters get even more complicated as April becomes pregnant. What begins as a refreshing and life affirming idea by April is pushed to the limit as the couple fight to resist “the trap” of a life desensitized by suburban America.
Without revealing too much in the way of plot, the film picks up in the third act – relationships become more complicated, stakes are raised and Mendes examines human nature in the manner that made Yates work so powerful. “Revolutionary Road” could’ve easily been another example of self-hating characters whining their way through a film, but careful direction and superb performances keep the film strong throughout. DiCaprio and Winslet are both sympathetic and yet flawed, simple yet complex. Their performances are nuanced and dynamic in their own ways. As the couple eventually harbors disdain for each other and their lives unravel, the story remains engaging and tragic. A breakfast scene at the end of the film is some of the most haunting filmmaking I’ve seen this year.
Set in the 1955, the film does a tremendous job recreating not only the physical sets of the period, but the personalities, character types and attitudes that were such a part of the novel, translated seamlessly by Mendes and crew. Roger Deakins cinematography is vibrant, bringing light to the early, hopeful parts of the film and gradually becoming darker and rigid as the relationship deteriorates. Thomas Newman’s score is period appropriate and simple but effective, while Randall Poster continues his strong music supervision work of late (The Ink Spots “The Gypsy” in the film’s opening is a particular highlight). Mendes, never an obtrusive director by nature, gives his actors room to work and they reward him with complex performances. It’s hard to forecast the Oscar puzzle this early, but both DiCaprio and Winslet will definitely be in the conversation. Michael Shannon is also outstanding, stealing every scene he is in and bringing a sense of dry humor to an otherwise heavy film.
Sam Mendes remains faithful to the material, crafting a beautifully shot film with thoughtful, layered performances and relevant implications. Growing up in Connecticut, I remained impressed throughout at the level of detail paid to replicating the dynamic of a state that really hasn’t changed much since the 50’s the film takes place in. Homes have been renovated, better schools built, and certainly more intellectual opportunities present – but the issues the Wheelers encounter are still very much real, the suppression of the suburbs, strain of commuting to a job with very little individual satisfaction (particularly relevant with the moribund job market in the financial realm), and question of who created the established idea of needing to raise a family at the expense of individual contentment. The film feels a bit too heavy handed and repetitive at times, but overall our complaints are minor. It’s a terrific movie and one that is likely to rank among the year’s best.