Revolutionary Road
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Movie Reviews of Revolutionary Road
Movie Review: A Prison Within A Prison
Summary: 5 Stars
Adapted from Richard Yates first novel, Revolutionary Road exposes the adversities of a young couple living in a Connecticut suburban neighborhood during the 1950's who simply realize too late that they were never meant to be.
Frank Wheeler (Dicaprio) and April Wheeler (Winslet) feel as though they must standout from all the other mundane and ordinary suburbanites in their neighborhood. Frank, a marketer who works for Knoxx business (equivalent to IBM in those days) machines, is profoundly miserable at his job as he diligently works in a cubicle and engages in secretarial affairs with the novice typist. April, a struggling actress, who apparently never received her big break in show biz does not like to talk about her failures.
During the beginning of the film, we are introduced to a quick flashback of how they met at a party while they were younger; Frank exhibits his witty, charming charisma as he gives April the impression of eventually leading a spontaneous life in Paris in the future. However, the viewer only begins to find out that this was merely a sales pitch or a common characteristic of a marketer. On the contrary, April falls for it no less. Fast forwarding to the present, April now lives in an ordinary life on Revolutionary Road with Frank and her two children and receives frequent visits from her inquisitive real estate agent (Kathy Bates) accompanied with her "mentally unstable" son. April feels as though she is leading a very unsatisfying and unfulfilled life. To add some excitement in their relationship, April broaches Frank's former idea of actually pursuing a career and settling in Paris as a secretary because it simply pays handsomely; meanwhile, it will beneficially fit Frank because he can finally figure out what he wants to do with his life. Frank refuses at first because according to him it is just "unrealistic" but eventually obliges because he too feels as though they need something new and spontaneous to reinvent their relationship. Despite the neighbors and Frank's fellow co-workers disbelief in this "childish" and radical decision, things seem to go very smoothly in the Wheeler family; the house they just bought is now on sale, their belongings are packed, the children are excited, life could not be any better.
It all seems too swell for this tragic couple, when suddenly Frank is offered a promotion at his redundant job with a higher paying position, heavier responsibilities, and more importantly a chance to be apart of something great, the computer. Frank refuses this handsome offer from his boss at first because it interferes with their big trip to Paris. On the other hand, Frank cannot resist the temptation and is drawn to stay at this job because of the attachment he has regarding his father. We learn that Frank's father has also worked at Knoxx Business Machines for 30 years. It suggests as though Frank has a yearning desire to fulfill this empty legacy. On a different note, it strongly expresses Frank's inability to change and triumph over his trepidation. This couple struggles to achieve any sort of compromise as their lays a serious conflict of interest regarding their futures. April wants a lifestyle change in Paris; meanwhile, Frank is satisfied working in a miserable occupation with a higher salary. This relationship portrays that conflict of interest incessantly; it also shows how it affects their lifestyle and how they grapple with the consequences. It is not pleasant I rest assure you. (You'll see what I mean)
The bigger picture here is the heavy social commentary implemented in this film at almost every other scene. It reflects and exposes the culture of the 1950's, the struggles of an unhappy relationship, and the fine line between insanity and simply pure genius. It also sheds light upon questions such as what is insanity and what is mean to be medically and mentally unstable? The reality is that the real estate agent's son who is "mentally unstable" by society is the only one that possesses a real intellectual and realistic perception on the wheeler's relationship.(Go figure) The Wheeler's relationship and decisions are constantly being influenced by other people and we see this through Frank's work environment, the neighbors, and the real estate agent. April is victimized as a prisoner of culture and her difficulty of coping with the dynamics of the role of a wife during the 1950's. Some might question her role in the film and ask, well, why doesn't she just get a divorce, or leave Frank? It just wasn't that simple during that time period as it was considered taboo or dishonorable to leave or separate from your husband. April wishes she could leave the house but is drawn back to it like a magnet because she has two children, a husband, and could not possibly earn a lucrative living in those days considering the job opportunities available at that time period. In that regard, April is prisoner of the house, living in an inescapable environment. She is a prisoner living in a prison within a prison. Frank is a mere coward that cannot confront the social obstacles of change. Like April, Frank too, is a prisoner as well. Hence, my conclusion, a couple that was never meant to be.
Personally, I enjoyed this film not because of the setting, or from the great performances, but the realism that is portrayed here in this relationship. It is quite unique in the sense that the film does not sugar coat anything. Not to be too clichéd or anything but it echoes the expression "it is what it is". In that regard it may turn some people off. I happen to cherish and embraced this message. If you like this film, check out "A Doll's House" with Anthony Hopkins. Both are excellent but sad films. They express a similar struggle of a couple resisting to conform to society.
Movie Review: Domestic Disturbance
Summary: 5 Stars
It begins so innocently: A young man and a young woman glace at each other and immediately want to close the distance between them and get better acquainted. Such a moment can be found in James Cameron's "Titanic" early in the film, when the characters played by Leonardo DiCaprio and Kate Winslet first notice each other despite being separated by deck levels and social status. A very similar moment can be found at the beginning of Sam Mendes' "Revolutionary Road," and interestingly, it features the same two actors. Their characters see each other for the first time at a local party, and they're separated more by life goals than by stature. As wonderful as "Titanic" is, it's an escapist entertainment, a sweeping, epic romantic fantasy. "Revolutionary Road" is smaller, subtler, and painfully real. We know this because the youthful, naïve love the characters share at the start disappears by the next scene, at which point they're already married and having a terrible fight.
Based on Richard Yates' novel, "Revolutionary Road" is a brilliant, unflinchingly honest examination of suburban life in 1950s America, where the outward appearance of domestic happiness meant everything to the average married couple. It tells the story of a corporate employee named Frank Wheeler (DiCaprio) and his stay-at-home wife, April (Winslet), who live in a picturesque but boring Connecticut neighborhood. Despite the fact that Frank hates his job, he's content to stick with it, knowing that he's expected to provide for his family. This isn't to say that he doesn't let himself go from time to time. Early in the film, he has an affair with a young secretary. The fascinating thing is that both of them seem so casual about what they're doing; if they regret their actions, they certainly don't show it. There isn't even a spark of emotion as he leaves her in a motel bed, asserting that she was swell.
April, on the other hand, yearns for something more out of life than just living in a suburb and raising her two children. Years ago, she was an aspiring actress. Now, she's in a domestic trap as a wife and mother. On the night of Frank's thirtieth birthday, she makes a radical suggestion: They should all move to Paris in the fall. Once there, she will get a secretarial job while Frank will be allowed to figure out what he actually wants to do with his life. It takes a little convincing, but Frank agrees, and for a time, his relationship with April improves. But it isn't long before life starts getting in the way. For one thing, absolutely no one takes their plan seriously, especially their neighbors, Shep (David Harbour) and Milly Campbell (Kathryn Hahn), who seem genuinely hurt by their wanting to leave. But truth be told, there is something a little phony about the glow that surrounds Frank and April, as if the idea is more appealing than actually moving.
There's more holding them back, of course, but I won't say what. I will, however, take the time to describe a subplot featuring another "Titanic" alumnus, Kathy Bates. She plays Helen Givings, the realtor who sold the Wheelers their house on Revolutionary Road. Even though she doesn't have much screen time, it's surprising just how much we learn about her. On the outside, she's polite and upbeat, with a pleasant face and charming smile. On the inside, she's judgmental and, in some ways, just as desperate as April. Her son, John (Michael Shannon), has just been released from a mental hospital, and as part of his rehabilitation, he begins spending time with the Wheelers. In the same way the blind Tiresias is able to see the truth about King Oedipus, John is the only character in "Revolutionary Road" with a firm grasp on Frank and April. But as insightful as he is, there does come a point when the truth really hurts.
What I really loved about this movie was the meticulous attention to dialogue. Every line in this movie felt natural, going not for obvious dramatic statements but for realistic outbursts of anger, hurt, and frustration. Even the quieter moments have an intensity all their own, as when Frank sits with the secretary at a restaurant; in that pivotal scene, he expresses--probably for the first time--the disappointment he feels for turning out exactly like his father. At the same time, there's an air of epiphany in his voice, as if he realized right then and there that he was never meant to be anything more than an office worker. Writer Justin Haythe evokes powerful emotions in his screenplay, and he does so without being condescending or cliché.
Of course, well-written screenplays are only half the battle--you need talented actors to make the dialogue work. DiCaprio and Winslet have such believable onscreen chemistry, especially as their characters descend into a seemingly never-ending cycle of shouting matches. They fight so well, as if they were an actual married couple. After having eleven years to mature as performers, they may in fact be better than they were in "Titanic." One wonders what would have happened had the ship made it to America and Jack and Rose had gotten off together. Would the fairy-tale romance eventually end? Would they grow up to be as unfulfilled as Frank and April Wheeler? "Revolutionary Road" is such an amazing film, superbly cast, expertly plotted, and emotionally compelling, a sobering reminder that what we want doesn't always coincide with what we get. Even the crème de la crème of 2008--like "Changeling," "Gran Torino," and "Frost/Nixon"--are not as good as this film is.
Movie Review: A Beautiful, Heartwrenching Film
Summary: 5 Stars
Revolutionary Road, the fourth film by Oscar-winning director Sam Mendes, reunites Titanic co-stars Leonardo DiCaprio and Kate Winslet which is what the film really got the most press from. It scored a couple of Oscar nominations and many critics called it one of the best films of the year, but it certainly avoided a large audience. Mendes' first film American Beauty (Widescreen Edition) was his masterpiece and the two films he followed up with it (Road to Perdition (Widescreen Edition) & Jarhead (Widescreen Edition)) were not without merit. I don't hesitate to say that this is his best film since American Beauty and is almost the film's counterpart. While American Beauty portrayed the darkly comical underbelly of suburbia, Revolutionary Road shows the tragic, claustrophobic grip of it.
The setting is Eisenhower-era Connecticut, which is where Frank (DiCaprio) and April Wheeler (Winslet) live in a nice suburban home on Revolutionary Road. Having given up on their aspirations to raise their children, Frank works at Knox Business Machines (a job he hates) while April fills her position as housewife. Feeling smothered by the suburban lifestyle they're trapped in, April proposes that the family move to Paris. She wants to get away, but she also wants to give Frank a chance to find his passion. While their friends find the plan absurd, the Wheeler's are steadfast in their determination. But, as things begin to change, the Wheeler's see their dreams start to crumble right along with their marriage.
Don't expect too many surprises, I warn you. The film has an ominous musical score, reminiscent of American Beauty (fitting, as the same composer Thomas Newman scored both films) that clearly foreshadows things aren't going to play out in the happiest way. On the subject of music however, there is perfectly placed '50s era music scattered throughout the movie that marvelously puts us in this timeframe. The set direction (by Kristi Zea) and the costume design (by Albert Wolsky) are both perfect in the film. The beautiful recreation of 1950's suburbia perfectly contrasts the empty attitude of the character's.
The acting is, of course, the film's selling point. Winslet is a reliable actress that likely would've won her 2008-Oscar for this film had she not made The Reader. Not any actress could capture feelings of emptiness and claustrophobia in this performance, but Winslet does it flawlessly. A true actress Winslet is.
DiCaprio is one of the most successful actor's in Hollywood, but he's not without his detractors. His performance as Frank is a powerhouse of pent-up frustration and emotion. I think this is one of his best and certainly one of his most powerful performances. The two performances together are so vividly realized, you'll forget this is the "Jack & Rose reunion." They completely outshine those performances.
With all the star-power this film has backing it, the Academy only acknowledged one performance in this film. The character is John, the adult son of the Wheeler's neighbors who has only recently been allowed to leave the psychiatric hospital he's been staying at. The actor is Michael Shannon, who has only two scenes and a small amount of screen time. Shannon impressed me in Bug (Special Edition), but I don't think he has previously been given a role that allowed him to really showcase his talent. As John, he makes quite an impression as the only person able to see right through the Wheeler's facade. He has the most powerful dialouge in the film and he is so stand-out, it's easy to see why the Academy singled him out among these other, well-known actors.
Revolutionary Road goes deep into the inner workings of suburbia, a crumbling marriage, and the unhappiness of these people. It doesn't explore these themes subtly, but gives the audience a very clear view into them. It's based on a 48-year-old novel by Richard Yates and was brought to the screen all these years later because it's still a very relevant story. Look no further for proof than the recent, overpublicized Jon & Kate debacle. This film is not a subtle meditation, it's a realistic exploration.
This is a beautiful, heartwrenching film...Definitely among the best films of 2008. It's powerful, effusive, and impressive considering the subject matter has the makings of a soap-opera and instead is a real human drama. While not a happy movie by any stretch of the imagination. I highly recommend this film.
GRADE: A
Movie Review: Film as art.
Summary: 5 Stars
Allow me to start with what seems to be a comment not relevant to the film (though it is relevant to the critique): I was overall impressed with it. The story, depressing but "real"; the acting: award winning. Etc. So I looked at the 1-star reviews, curious why people DIDN'T like it.
After reading them, I thought of a conversation I had with a younger neighbor about the latest Star Trek film, and the Batman movies which he loves and I don't. I commented that the generation behind me seems to be more into "action" films. They don't necessarily make any sense, but they ARE action-packed. And the hero always wins.
What I see in the 1-star reviews are people who see a film because they want to "feel good." In that sense, hero films and silly romances would win hands down. But a film such as this--and another depressing classic, "Glenngary Glenn Ross," would fail miserably. Interesting that to such people film is simply escape.
I didn't really know what to expect in the film. I anticipated someone whose ideals had been disrupted, and there's some truth to that.
And, since so many others have gone over the story line, I don't want to repeat much. What I noticed is that the Wheelers (DiCaprio/Winslet) were a rising young couple in the upward bound, white community in 1955. Frank didn't like his job, with a high tech company of the era. April confronted him and suggested, "Hey, let's be adventrous like you suggested when we first met!" They agreed to move to Paris where she'd get a secretarial job and he'd find himself, something he hadn't done to that point.
He reluctantly agreed, then, in a moment of indifference did something that impressed his company. That made him wonder as to the wisdom of that decision. In the meantime, April got pregnant. She was considering an abortion, but he felt to be left out of that decision was inexcuseable.
In the meantime, their realtor and family friend Mrs. Givings (Kathy Bates who's among the GREATS for acting) suggested they have a son who, while a Ph.D. in math is also a mental patient. Would the Wheelers like to meet him? The Givings brought their son by. Their son John was played by Michael Shannon. I'm not familiar with Shannon but he was spectacular in that role! He was the Wheelers' conscience, their mediator, the one who forced each one to face him- and her-self! While the role didn't cover that much of the film, his was the height of the drama!
Then Frank had a short-term affair with a typist at his company, and April also had one with a neighbor who'd obviously been hot on her from the beginning.
As no one wants the plot given away, I'm avoiding doing that. But the conflicts between this ideal 1950s couple was not obvious to their friends, the Campbells or the Givings. Indeed, in the closing scenes, all off them were somewhat obsessed with the Wheelers even though their relationships had ended.
The lead issue of the film to me was ideals: the Wheelers seemed to be the proverbial Cleavers to those not familiar with their...details. Frank has used the "adventurer" line to hustle up April (in the opening scene, a kind of prequel) but he wasn't happy. April wanted him/them to pursue that happiness--the adventure--but he felt more secure where they were. But none of the ideals were to be...
Yes, it IS depressing. So if your desire is a feel-good flick this ain't the one for you. If you want a story that is the definition of good literature, i.e., something from which you might learn (What happend to YOUR ideals?), don't miss it.
Both DiCaprio and Winslet were convincing, in their conflicts, in their confusion. Again, John Givings was a key figure, though didn't have more than a few minutes in the whole film. He was the one who was allegedly nuts, but was the one who forced the Wheelers to address themselves.
There's so much more I could say, but I dare not give anything away. Again, don't expect to be smiling after you've seen this. But I think it addresses issues real to many of us. Don't miss it.
Movie Review: "Life Is What Happens When You're Busy Planning Other Things"
Summary: 5 Stars
"I can't leave and I can't stay. I'm no good to anyone." -April Wheeler
April and Frank Wheeler (Kate Winslet and Leonardo DiCaprio) live in Conneticut with their two children. April is discontent and convinces Frank that he might be too. April suggests they sell up and move to Paris. Frank agrees until he gets a promotion at work and April gets pregnant. Frank decides he's hit his stride in life. He changes the narrative behind his story. He gets interested in selling computers. He tells April "People in Paris can't be the only ones living interesting lives. We can be happy here." Most of all Frank wants his wife to be happy, but April refuses to join him in his contentment and continues to dwell on the idea that life is passing her by.
I thought I would really like this movie. I'm a lot like April. On my worst days there is very little that keeps me from running to the airport. Thankfully I married a sweet guy that accepts my occasionally itchy feet-which is what I kept wondering about April. If she wanted to go to Paris so bad, why not just go for a while by herself and then use the experience to bring a new perspective to her existence? Couples don't need to be together every single moment and even the most free spirted of people need a home. Instead April chooses to destroy herself and her husband when there are so many other viable alternatives. It was hard for me to empathize with a character that couldn't laugh, took every moment of her life and herself way too seriously, and couldn't appreciate the love and dedication Frank directed towards her happiness. Though I saw a bit of myself in April, I despised her lack of courage.
The most interesting thing about this movie is that April is playing the "male" role. Men always think that women want to "trap" them into the nest. Revolutionary Road aptly demonstrates the other side-it's Frank that wants to "talk about it" and April just wants him to shut up. Frank wants to stay at home and April wants to travel.
Important to the narrative of Revolutionary Road is Paris and it's ability to provide Americans with a worthwhile existence. Don't get me wrong. I love Paris. But I had a Parisian boyfriend once and he and his friends always laughed about the American fascination with France-a year in Provence, the black berets! Yes, France is good. But where ever you go, there you are. If you're unhappy at home, you'll probably be unhappy in France too. You get the feeling that this is true for April, which is why she chooses her sad ending. April wouldn't have been happy in Paris, she wouldn't have been happy anywhere. At the end of the movie Frank says to his friend "She did it to herself." Frank is talking about something else in the scene (I don't want to give it away) but it's an apt metaphor for April's life.
I'm giving this movie five stars because of the good performances, originality of ideas, and the fact that no matter how much you end up liking or hating this film, it's going to get you thinking. And if it all leaves you too sad-if you see too much of yourself or your relationship in this film, remember that there are other ways to solve ennui without destroying yourself, your family, or your spouse and those resolutions don't have to involve electroshock therapy, the mental health system, extra marital affairs, booze, cigarettes and Paris. It's hardly all "empty hopelessness" as the characters in this film would have you believe. There's plenty to be happy and laugh about no matter where you are.
If the themes in Revolutionary Road interest you, I'd suggest the Aussie film Alexandra's Project, the humorous The War of the Roses, or the gentler The Good Wife. Revolutionary Road will definitely give you a good perspective on the wives in all three of these films.