Revolutionary Road (B or 3/4 stars)
A young couple in a western Connecticut suburb during the mid-1950's struggle to come to terms with their personal & marital problems in 'Revolutionary Road', directed by Sam Mendes (American Beauty). Through the eyes & actions of Frank & April Wheeler (Leonardo DiCaprio, Kate Winslet), we see how American suburban marriages can go alllllll wrong. Based on a best selling 1961 book, 'Rev. Road' shows how soul-crushing & banal suburban life 'can' be. It's often a devastating & inescapable nightmare. How does one break free from the trite social constraints? How do you stand-out? Can you? What lengths will you go to change? This is a disturbingly bleak movie. But the acting is mighty powerful.
1955: Frank & April once dreamed of a life of extraordinary achievement. But at the start of this film, they enter a dark period of their marriage. He works a menial job at a business-machine company to support April & their 2 children. She once had high aspirations of becoming an actress. But the local play she participates in bombs. Life is closing in on them. And they're taking their frustrations out on each other; with MUCH volatility. Frustrated, and self-loathsome, Frank strays from April with a co-worker named Maureen. Then, on his 30th birthday, April hatches a plan for her & Frank to sell their house on Rev. Road & move to Paris (in an attempt to save their marriage & their sanity). She convinces him that they have enough $$, and she'll go to work as a secretary; providing for the family. Dusting lampshades & staring out living room windows for 16 hours a day won't cut it for her. She's had it.
In Paris, Frank could hone his talents & finally do what he wants to do ... but does he even know what that would be? Desperate to please April, he goes along with the haphazard idea. Neighborhood busybody (Kathy Bates) is secretly abhorred by this hasty decision. And her emotionally-disturbed son, John (Michael Shannon), sees through Frank & April's bullsh*t transatlantic move right away. Frank mentions escaping their 'hopeless emptiness'. And John points out that the addition of 'hopeless' in that phrase makes them (as a couple) nearly as disturbed as he is. Events occur which puts their fairy tale relocation to Paris in jeopardy. The 'hope' that temporarily rejuvenated their marriage is snuffed out. And in the wake of this disappointment, could Frank & April survive these latest blows?
The Suburbs are supposed to represent the American Dream. What a mythbuster! As evidenced in this film, they can also be the breeding grounds for drinking, chain-smoking, fighting, depression, affairs, accidental pregnancies & suffocating lifestyles. Their idyllic home is a prison. To be happy in the 'burbs is to lie to those around you AND to yourself. The movie asks: is it more courageous to face up to your responsibilities or to follow a crazy dream? The marriage/2.5 kids/house-on-a-hill dream only drains one's creativity as a human being. Divorce in 1955 isn't really an option; nor is abortion. Everything is against them. We've seen Kate & Leo as the star-crossed lovers in Titanic, & they're equally tragic here. Their portrayals as a couple-in-crisis are (often) mesmerizing.
It takes a while for Leo to get going, but once he does, he's magnetic as Frank Wheeler. Frank knows he's nothing special; just desperate to always appear cool & calm. But he succumbs to the pressures many times. He's vulnerable, with nowhere to hide. We feel every suppressed emotion he feels. And we cower when he bursts into a defeat-induced rage. Winslet's April ranks as one of the actress' best performances. Kate is, at times, a bit mannered. But hers is also an incredibly difficult role. April may be selfish, even nuts, but we understand her exasperations & feel her sadness. Winslet (not unlike Kristin Scott Thomas' in I've Loved You So Long) can convey anything. She rattles us when angry. But she rattles us even more so in the despairing, quiet moments. She (and Frank) can't come to grips with their suburban drudgery, or their lack of 'greatness'. They'll never escape their ordinariness.
'Rev. Road' is well-crafted. The 1950's milieu is both impeccable & understated. And it's the kind of film that older women could relate to (if they've ever been repressed housewives). One of the issues I have with the film is that lots of the spoken words come across as 'movie dialogue' & not 'real life dialogue' ... that's a bit irksome. And the fact that the conclusion leaves no room for even an ounce of cheer is its biggest drawback. 'Rev. Road' may not be as apparently brilliant as the novel it's adapted from, but it's still a very good "film". As an entertaining "movie", it's less successful; filled with relentless anguish, lies, emotional revenge, & tragedy. Still, I recommend 'Rev. Road' to those who want to see dynamic performances from two young, yet seasoned Hollywood veterans.
1955: Frank & April once dreamed of a life of extraordinary achievement. But at the start of this film, they enter a dark period of their marriage. He works a menial job at a business-machine company to support April & their 2 children. She once had high aspirations of becoming an actress. But the local play she participates in bombs. Life is closing in on them. And they're taking their frustrations out on each other; with MUCH volatility. Frustrated, and self-loathsome, Frank strays from April with a co-worker named Maureen. Then, on his 30th birthday, April hatches a plan for her & Frank to sell their house on Rev. Road & move to Paris (in an attempt to save their marriage & their sanity). She convinces him that they have enough $$, and she'll go to work as a secretary; providing for the family. Dusting lampshades & staring out living room windows for 16 hours a day won't cut it for her. She's had it.
In Paris, Frank could hone his talents & finally do what he wants to do ... but does he even know what that would be? Desperate to please April, he goes along with the haphazard idea. Neighborhood busybody (Kathy Bates) is secretly abhorred by this hasty decision. And her emotionally-disturbed son, John (Michael Shannon), sees through Frank & April's bullsh*t transatlantic move right away. Frank mentions escaping their 'hopeless emptiness'. And John points out that the addition of 'hopeless' in that phrase makes them (as a couple) nearly as disturbed as he is. Events occur which puts their fairy tale relocation to Paris in jeopardy. The 'hope' that temporarily rejuvenated their marriage is snuffed out. And in the wake of this disappointment, could Frank & April survive these latest blows?
The Suburbs are supposed to represent the American Dream. What a mythbuster! As evidenced in this film, they can also be the breeding grounds for drinking, chain-smoking, fighting, depression, affairs, accidental pregnancies & suffocating lifestyles. Their idyllic home is a prison. To be happy in the 'burbs is to lie to those around you AND to yourself. The movie asks: is it more courageous to face up to your responsibilities or to follow a crazy dream? The marriage/2.5 kids/house-on-a-hill dream only drains one's creativity as a human being. Divorce in 1955 isn't really an option; nor is abortion. Everything is against them. We've seen Kate & Leo as the star-crossed lovers in Titanic, & they're equally tragic here. Their portrayals as a couple-in-crisis are (often) mesmerizing.
It takes a while for Leo to get going, but once he does, he's magnetic as Frank Wheeler. Frank knows he's nothing special; just desperate to always appear cool & calm. But he succumbs to the pressures many times. He's vulnerable, with nowhere to hide. We feel every suppressed emotion he feels. And we cower when he bursts into a defeat-induced rage. Winslet's April ranks as one of the actress' best performances. Kate is, at times, a bit mannered. But hers is also an incredibly difficult role. April may be selfish, even nuts, but we understand her exasperations & feel her sadness. Winslet (not unlike Kristin Scott Thomas' in I've Loved You So Long) can convey anything. She rattles us when angry. But she rattles us even more so in the despairing, quiet moments. She (and Frank) can't come to grips with their suburban drudgery, or their lack of 'greatness'. They'll never escape their ordinariness.
'Rev. Road' is well-crafted. The 1950's milieu is both impeccable & understated. And it's the kind of film that older women could relate to (if they've ever been repressed housewives). One of the issues I have with the film is that lots of the spoken words come across as 'movie dialogue' & not 'real life dialogue' ... that's a bit irksome. And the fact that the conclusion leaves no room for even an ounce of cheer is its biggest drawback. 'Rev. Road' may not be as apparently brilliant as the novel it's adapted from, but it's still a very good "film". As an entertaining "movie", it's less successful; filled with relentless anguish, lies, emotional revenge, & tragedy. Still, I recommend 'Rev. Road' to those who want to see dynamic performances from two young, yet seasoned Hollywood veterans.