One From Sam Mendes: Revolutionary Road

“Once in a lifetime comes a motion picture that makes you feel like falling in love all over again. This is not that movie.”

– Tagline for “War of The Roses.”

Revolutionary Road” feels more like a horror movie than a romantic drama. It is brutally honest in the way it depicts the terrible disintegration of a marriage, the kind none of us ever want to get trapped in. Those of you who still think gay marriage is a threat to the sanctity of marriage should take a look at this movie, for it is a much more astute examination of what can really destroy such a prized institution. When the movie starts, we know we are in for a fateful journey of two people who at first look like they belong together, but we know they will eventually tear each other apart limb from limb.

But as tough as “Revolutionary Road” is to watch, it is also an utterly brilliant film which serves as further proof of how Sam Mendes’ Oscar win for his directorial debut of “American Beauty” was no fluke. There is not a single false note to be found here, and it feels practically flawless in its making and design. It has great visuals, a great screenplay and amazing performances from the entire cast. Mendes makes “Revolutionary Road” an enthralling experience into the horrors of conformity, the very thing we all try to fight against.

The movie starts with its two main characters, Frank and April (Leonardo DiCaprio and Kate Winslet), when they first meet at a party where they are instantly attracted to each other. The story then moves forward to years later when April is taking a curtain call for a play she is acting in, and she ends up bowing to a very unenthusiastic response from an indifferent audience. It is clear their relationship has gotten cold, and the utter frustration constantly simmering under the surface seem to be the only thing left for them to deal with. This leads to April to come up with what she sees as the perfect plan: They can sell their house and car and move to Paris where she can support Frank through secretarial work while he figures out what he really wants to do with his life. They both see it as their great chance to escape the confines of normalcy which has been eating away at their fragile little souls. However, reality threatens to take away from their dream one piece at a time.

This was Mendes’ fourth film as a director, and you can see a common thread through all his movies. Mendes seems endlessly fascinated with characters whose lives are at a standstill, and who hope for something incredible to happen to them. They are waiting for that moment where they can change into what they always hoped to be, and yet it never quite arrives. In “American Beauty,” it was the characters’ desire to wake up from their dead and dysfunctional lives. In “Road to Perdition,” it was the desire of Tom Hanks’ character to get his son away from the devious life he was leading as a mob enforcer, and to redeem himself in the eyes of his son. In “Jarhead,” it was the desire of the soldiers to enter a war and fight like men, and to take down their enemies by lethal force.

All of this comes around full circle in “Revolutionary Road” as this film deals with characters eager to escape their suffocatingly conformist suburb to live a life of sheer excitement. But they soon come to find they are not as special as they thought they were, and the desires of Frank and April seem to work in opposition to one another. The characters are complex in their creation, and we see what fuels their individual needs, desires, fears and anxieties which serve to define them and their actions. It’s almost like Frank and April are like George and Lenny from “Of Mice and Men;” they are two people hoping to get something they can never truly have, and they constantly delude themselves into thinking all is within their grasp and that their dreams will soon become a reality. But reality comes to rear its ugly head at them, and you know that it ain’t gonna pretty.

In a sense, “Revolutionary Road” can be seen as kind of a distant cousin to “American Beauty” in how it details the suffocating environment of suburban living, but each film approaches this differently. While “American Beauty” dealt with its characters with a dark sense of humor, the environment in “Revolutionary Road” is much bleaker and more consuming. In fact, “American Beauty” seems like a delightful walk in the park compared to this one.

This movie takes place in 1950’s Connecticut, and yet it feels quite contemporary which shows how frighteningly timeless story is. This is what will make the movie hard for many people to watch as they may end up seeing themselves in these two people; the longing for a more exciting existence, for an escape from the suburban way of living which has drained them almost completely of feeling, and to get another chance to get what they truly want out of life.

Along with cinematographer Roger Deakins (“No Country for Old Men“) and production designer Kristi Zea (“The Silence of The Lambs”), Mendes perfectly captures the look and feel of the 1950’s to where you feel like you are right in it. He also captures the routine of the life in suburbs and manages to capture some unforgettable moments like when April takes the garbage out to the front of the driveway, and she sees everyone else has placed theirs out in front as well. In this moment, he captures April’s realization of how she and Frank have bought into the resigned way of living they both thought they would somehow avoid. It’s a beautiful movie to look at, but the ugliness of its characters’ frazzled emotions come through to make this seem like anything other than a Norman Rockwell portrait.

In addition, Mendes is served very well by his frequent film composing collaborator, Thomas Newman. While his music score may sound like many of his others, Newman captures the longings of both Frank and April as they tumble through their seemingly mundane existence, and soon end up being driven crazy by it and each other. Throughout all his work, Newman seems to work with music so subtle in how it is performed, and yet so powerful in what it ends up conveying. It’s no accident that Newman also scored Mendes’ “American Beauty” and Todd Field’s “In the Bedroom.” Like Mendes, Newman has a strong feel for life in the suburbs no matter what decade a movie takes place in.

“Revolutionary Road” is really a tremendous acting showcase more than anything else, and I don’t just mean from the two main actors. You have the always wonderful Kathy Bates who plays Mrs. Helen Givings, the endlessly talkative real estate agent who sells Frank and April the home they end up living in. The smile on her bright face serves to hide the pain that we see later as we are introduced to her son who has just been released from a mental institution. You also have the terrific Dylan Baker as Frank’s co-worker, Jack Ordway, a man who endlessly waxes philosophically over the craziness of our existence. David Harbour and Kathryn Hahn are also excellent as the next-door neighbors, Shep and Milly Campbell. The excitement April and Frank have over their plan to go to Paris both enthralls and depresses Shep and Milly, and the way they react to it implies how April and Frank are not the only ones leading lives of quiet desperation.

But one of the true standout performances from the supporting cast comes from Michael Shannon as Helen Giving’s mentally unhinged son, John. In an atmosphere where the truth is felt but never verbalized, John finds himself completely incapable of telling a lie. Essentially, he is a Vulcan like Mr. Spock, but with an overabundance of raw emotion. Through his thoughtlessly cruel remarks to everyone around him, he exposes the seemingly perfect couple and their marriage for the sham it has become, and you can clearly feel his betrayal by these two people who had promised to escape the lifestyle they found themselves so hopelessly trapped in. Shannon’s performance is astonishing in its uninhibited nature as he becomes the voice of reason in a world so full of lies.

This of course brings me to the two main actors, Leonardo DiCaprio and Kate Winslet. This is the first film they have appeared in together since “Titanic,” but one is very different. It could almost be seen as a story of what happened to Jack and Rose after the big ship sank, assuming Jack survived the freezing waters. Both DiCaprio and Winslet have an incredible chemistry with onscreen, and it seems crazy it took them over 10 years to do another movie together.

DiCaprio continues to prove why he is one of the best film actors of his generation. Throughout the movie, he lets us look past the egotistical nature of Frank Wheeler which allows him to seduce a naïve young secretary (played by the wonderful Zoe Kazan), and to see the pain and fear which threatens to steer him further in a direction he never planned to go in. The relationship he had with his father always seems to be surrounding him in ways which are never fully explained, but we can see how it enforces the decisions he ends up making. Frank clearly cannot stand the job he has as a salesman, but he is also equally terrified of leaving it as he feels he may let down his family in the process. DiCaprio brilliantly captures the complexity of this character whose needs and desires constantly tangle with one other, and whose anger and frustration with life eventually boils over to the only person he can take it out on, his wife.

But as raw and complex as DiCaprio’s role is, he is almost completely blown away by Winslet’s performance. Watching her here, you might think she was in a Lars Von Trier movie. Whereas Frank may have been desperate to escape his mundane existence, April is ten times as desperate to do the same. Her desire to escape the boring life she sold herself out to is never ending, and she can never hide her pain and feelings of hopelessness from those around her. You have to wonder where she gets the energy to do this emotionally exhausting work, and she has more than earned her place in the ever-growing pantheon of great actresses.

“Revolutionary Road” is not the most enjoyable of movies to sit through, but not all movies are meant to be, and this one is not without purpose. We empathize with Frank and April in spite of the way they treat each other because we know all they go through could easily happen to us.

Sam Mendes is one of the best directors working today, and he created another masterpiece of suburban isolation which stands proudly alongside “American Beauty” and “In the Bedroom” among others. It also shows how the term “civil marriage” can seem like the ultimate oxymoron. It goes back to people saying how love is a four-letter word, or that it is a sentence. Frank and April’s story is a tragic one, and probably not a movie to be watched by those who just got engaged.

* * * * out of * * * *

‘Away We Go’ – Sam Mendes At His Most Laid Back

In 2008, director Sam Mendes gave us the marriage from hell with one of the year’s best movies, “Revolutionary Road.” We saw those two “Titanic” stars go at it like they were reincarnations of the characters from “Who’s Afraid of Virginia Woolf,” and the movie proved to be a horror show more than anything else as we saw this doomed couple descend into the hell which is marriage in dull suburbia. Then in 2009, Mendes gave us a movie which is more or less its polar opposite, “Away We Go.” It’s a sweet if flawed comedy-drama that focuses on a couple who manage to stick it out together as they travel from one city to another in an effort to find a place they can call home. You could almost say this is Mendes’ apology for the horrifying experience which was “Revolutionary Road,” but that movie was so damn good, why should he have to apologize for it? At least with this one, he observes a loving couple who are not out to scream at one another.

“Away We Go” stars John Krasinski and Maya Rudolph as Burt and Verona, a couple who suddenly find themselves expecting their first child (the moment Burt finds out is classic). They share their great news with Burt’s parents, Jerry and Gloria Farlander (the always fantastic Jeff Daniels and Catherine O’Hara), whom they see as their chief support system through the pregnancy. However, Jerry and Gloria end up laying a bombshell on the expecting couple by announcing they will be moving to Belgium for two years, and they will be leaving before their grandchild comes into the world. The only reason they have stayed in their present location was to be close to Burt’s parents (Verona’s are both dead), and so they both decide to go on a vacation to find a new home with people they know who they can form a strong family unit with.

With “Away We Go,” Mendes gives us a road movie with two characters traveling from Arizona to Montreal to find a home they can call their own. Signs keep popping up like “AWAY TO TUSCON” or “AWAY TO MIAMI” as Burt and Verona continue their travels, hoping to find the support system they need. Things get off to a shaky start when they first go to Phoenix and meet up with Verona’s old boss, Lily (Allison Janney), and her alienated family. This moment plays more like a sitcom and features situations I have seen many times before, and it made me feel like the rest of the movie would be even worse. Janney is a hoot, but she plays the scene too broadly and it never feels real enough. Jim Gaffigan, on the other hand, who plays Lily’s emotionally repressed husband Lowell, fares better as he doesn’t overplay his hand. There is one moment where he goes over all the bad things which could be happening to him, and he keeps talking long after everyone wants him to shut up. It is a darkly hilarious moment.

Things, however do improve from there. The setup is familiar, but Mendes and his actors give this endeavor a lot of heart which really won me over. Rudolph has a wonderful moment where she meets up with her sister Grace, (Carmen Ejogo) and they are hanging out in a bath tub and talking about the past neither of them feels ready to revisit because it’s too painful. Their dialogue is really good, but it is their faces which do most of the acting as their eyes serve as windows to their mournful souls.

Maggie Gyllenhaal also makes an appearance here as LN, a cousin of sorts to Burt. Along with her husband Roderick (Josh Hamilton), they live an insanely subdued life of peace and tranquility which is really more of a hilariously terrifying example of repression. Krasinski steals a scene as he rebels against LN’s way of living by giving her son the one pleasure no child should ever be denied – a ride in a stroller. Gyllenhaal is a kick to watch here as she gives this movie one of its most memorable moments.

The people Verona and Burt meet from there vary in degrees of happiness and sadness, and it wreaks havoc on them as it would any expectant parent. Like many, they are presented with scary examples of what could end up happening to them. Some of the couples seem very happy at first, but it serves to mask a deep hurt they are trying to keep under wraps. I think this will be a good movie for expectant parents and/or young couples to check out as they will probably relate very easily to what these two end up enduring in their travels.

The screenplay by the husband and wife team of Dave Eggers and Vendela Vida does not travel into original territory. There are several clichés to be found as we travel with this loving and petrified couple from place to place. Their dialogue, however, does manage to lift the movie above the routine, and it delves deeply to give us characters with many different dimensions, and this includes the ones with the shortest screen time. They even manage to surprise us with revelations I did not see coming even if I sensed trouble was just around the corner. Some of the speeches do have an original feel to them, and they are delivered by a well-chosen cast who are fearless in digging to the root of the movie’s most emotional moments.

Krasinski is perfectly cast here, and he is almost completely unrecognizable with all that darn facial hair. As Burt, he gives us a character so lovably goofy, and he also shows a vulnerable side as many of the things scaring him about becoming a parent comes right up to the surface. Burt could have easily been turned into a stereotypical in another film, but Krasinski turns him into a well-rounded individual from start to finish.

But the real revelation of “Away We Go” is Maya Rudolph. She is one of my all-time favorite “Saturday Night Live” performers, and she showed quite a range from playing characters like Megan (the future Mrs. Randy Goldman as she called herself) to her hilarious impersonations of Donatella Versace and Beyoncé Knowles. With this movie, she reminds us of how she is also a very accomplished actress in case we foolishly did not realize this previously. Even when she is not talking, a movement of her face communicates how she feels, and it speaks volumes of what Verona has been through, and of the family she lost and still misses.

Mendes’ career as a filmmaker from “American Beauty” to “1917” shows a brilliant artist who is super focused on every element involved in creating a movie. It is not just about the acting or the screenplay, but he pays just as much attention to the set design, the cinematography, and the film score to create motion pictures which stand above so many others. With “Away We Go,” he seems to have changed his pattern of directing here, and it looks like it has freed him up to make a fly-by-the-pants movie where he does not have to focus on each element as he had before. As a result, this is probably his weakest film to date as there were certain elements which could have been improved on. Regardless, he has not lost an inch of his talent, and even with the least of his movies he gives us memorable characters and settings which stay with you long after the picture fades to black.

“Away We Go” plays better on the small screen due to its rather intimate nature, but if you are looking for a nice romantic movie, this is certainly one to check out. It starts off imperfectly, but it gets better and better as it goes on.

* * * out of * * * *

The Best Movies of 2008

2008 Year in Review

2008 was a year more memorable for those who died as opposed to the movies which were released. We lost Heath Ledger, Brad Renfro, George Carlin, and Paul Newman among many others, and their individual deaths spread through the news like an uncontrollable wildfire. Their passing left a big mark on us all. When we look back at this year, I think people will remember where they were upon learning of their deaths more than anything else. Many of us will remember where we were when we got the news that Ledger died, but they will not remember how much money they wasted on “Righteous Kill,” the second movie featuring Al Pacino and Robert De Niro sharing the screen at the same time.

2008 did pale in comparison to 2007 which saw a wealth of great movies released. Many said this was a horrible year for movies as high expectations ruined some of the big summer tent pole franchises, and that there were too many remakes being made. The way I see it, 2008 had a lot of really good movies, but not a lot of great ones. There was a big drought of good ones worth seeing at one point in this year, and I started to wonder if I would have enough of them to create a top ten list. If it were not for all those Oscar hopefuls released towards the year’s end, I am certain I would have come up short.

So, let us commence with this fine list, if I do say so myself, of the ten best movies of 2008:

  1. The Reader/Revolutionary Road

I had to put these two together for various reasons. Of course, the most obvious being Kate Winslet starred in both movies and was brilliant and devastating in her separate roles. Also, these were movies with stories about relationships laden with secrets, unbearable pressures, and deeply wounded feelings. Both were devoid of happy endings and of stories which were designed to be neatly wrapped up. Each one also dealt with the passing of time and how it destroys the characters’ hopes and dreams.

The Reader” looked at the secret relationship between Winslet’s character and a young man, and of the repercussions from it which end up lasting a lifetime. There is so much they want to say to one another but can’t, as it will doom them to punishments they cannot bear to endure.

Speaking of escape, it is what the characters in “Revolutionary Road” end up yearning for, and the movie is brilliant in how it shows us characters who think they know what they want but have no realistic way of getting it. Each movie deals with characters who are trapped in situations they want to be free from but can never be, and of feelings just beneath the surface but never verbalized until too late.

Both Stephen Daldry and Sam Mendes direct their films with great confidence, and they don’t just get great performances from their entire cast, but they also capture the look and setting of the era their stories take place in perfectly. All the elements come together so strongly to where we are completely drawn in to the emotional state of each film, and we cannot leave either of them without being totally shaken at what we just witnessed.

 

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  1. Doubt

Looking back, I wondered if I was actually reviewing the play more than I was John Patrick Shanley’s movie of his Pulitzer Prize winning work. But the fact is Shanley brilliantly captures the mood and feel of the time this movie takes place in, and it contains one great performance after another. Meryl Streep personifies the teacher you hated so much in elementary school, Philip Seymour Hoffman perfectly captures the friendly priest we want to trust but are not sure we can, and Amy Adams illustrates the anxiety and confusion of the one person caught in the middle of everything. Don’t forget Viola Davis who, in less than 20 minutes, gives a galvanizing performance as a woman more worried about what her husband will do to their child more than the possibility of her child being molested by a priest who has been so kind to him. Long after its Broadway debut, “Doubt” still proves to be one of the most thought provoking plays ever, and it lost none of its power in its adaptation to the silver screen.

 

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  1. Vicky Cristina Barcelona

This is the best Woody Allen movie I have seen in a LONG time. Woody’s meditation on the ways of love could have gone over subjects he has long since pondered over to an exhausting extent, but this is not the case here. “Vicky Cristina Barcelona” is a lovely and wonderfully character driven piece filled with many great performances, the best being Penelope Cruz’s as Javier Bardem’s ex-wife. Cruz is a firecracker every time she appears on screen, and she gives one of the most unpredictable performances I have seen in a while. Just when I was ready to write Allen off completely, he comes back to surprise me with something funny, lovely and deeply moving.

One day, I will be as sexy as Javier Bardem. Just you wait!

 

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  1. Slumdog Millionaire

Danny Boyle, one of the most versatile film directors working today, gave us a most exhilarating movie which dealt with lives rooted in crime, poverty and desperation, and yet he made it all so uplifting. It is a love story like many we have seen before, but this one is done with such freshness and vitality to where I felt like I was seeing something new and utterly original. Boyle also reminds us of how “Who Wants to Be A Millionaire” was so exciting before ABC pimped it out excessively on their prime-time schedule. “Slumdog Millionaire” was pure excitement from beginning to end, and it was a movie with a lot of heart.

 

 

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  1. Frost/Nixon

Ron Howard turns in one of the best directorial efforts of his career with this adaptation of Peter Morgan’s acclaimed stage play, “Frost/Nixon,” which dealt with the infamous interview between former President Richard Nixon and TV personality David Frost. Despite us all knowing the outcome of this interview, Howard still sustains a genuine tension between these two personalities, one being larger than life. Howard also has the fortune of working with the same two actors from the original stage production, Frank Langella and Michael Sheen. Langella’s performance is utterly riveting in how he gets to the heart of Nixon without descending into some form of mimicry or impersonation. You may think a movie dealing with two people having an interview would be anything but exciting, but when Langella and Sheen are staring each other down, they both give us one of the most exciting moments to be found in any film in 2008. Just as he did with “Apollo 13,” Howard amazes you in how he can make something so familiar seem so incredibly exciting and intense.

 

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  1. Rachel Getting Married

Jonathan Demme’s “Rachel Getting Married” had a huge effect on me with its raw emotion, and I loved how he made us feel like we were in the same room with all these characters. When the movie ended, it felt like we had shared some time with great friends, and Demme, from a screenplay written by Jenny Lumet, gives us a wealth of characters who are anything but typical clichés. Anne Hathaway is a revelation here as Kym, the problem child of the family who is taking a break from rehab to attend her sister’s wedding. Kym is not the easiest person to like or trust, but Hathaway makes us completely empathize with her as she tries to move on from a tragic past which has long since defined her in the eyes of everyone. Great performances also come from Bill Irwin who is so wonderful as Kym’s father, Rosemarie DeWitt, and the seldom seen Debra Winger who shares a very intense scene with Hathaway towards the movie’s end. I really liked this one a lot, and it almost moved me to tears.

 

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  1. The Wrestler

Darren Aronofsky’s “The Wrestler” has grown on me so much since I saw it. While it may be best known as the movie in which Mickey Rourke gave one hell of a comeback performance, this movie works brilliantly on so many levels. To limit its success to just Rourke’s performance would not be fair to what Aronofsky has accomplished as he surrounds all the characters in the bleakness of the urban environment they are stuck in, and he makes you feel their endless struggles to keep a roof over their heads and food on the table. “The Wrestler” succeeds because Aronofsky’s vision in making it was so precise and focused, and he never sugarcoats the realities of its desperate characters. Rourke more than deserved the Oscar for Best Actor, which in the end went to Sean Penn for “Milk.” Furthermore, the movie has great performances from Marisa Tomei and Evan Rachel Wood as those closest to Rourke’s character, and who look past his faded fame to see the wounded man underneath. The more I look at “The Wrestler,” the more amazed and thrilled I am by it.

 

Let The Right One In movie poster

  1. Let the Right One In

Tomas Alfredson’s film of a friendship between a lonely boy and a vampire was so absorbing on an atmospheric level, and it surprised me to no end. What looks like an average horror movie turns out to actually be a sweet love story with a good deal of blood in it. Widely described as the “anti-Twilight,” “Let the Right One In” gives a strong sense of freshness to the vampire genre which back in the early 2000’s was overflowing with too many movies. The performances given by Kåre Hedebrant as Oskar and Lina Leandersson as Eli are pitch perfect, and despite the circumstances surrounding their improbable relationship, I found myself not wanting to see them separated from one another.

 

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  1. Wall-E

Pixar does it once again and makes another cinematic masterpiece which puts so many other movies to shame. With “Wall-E,” director Andrew Stanton took some big risks by leaving a good portion of the movie free of dialogue, and this allowed us to take in the amazing visuals of planet Earth which has long since become completely inhospitable. Plus, it is also one of the best romantic movies to come out of Hollywood in ages. The relationship between Wall-E and his iPod-like crush Eve is so much fun to watch, and the two of them coming together gives the movie a strong sense of feeling which really draws us into the story. The fact these two are machines quickly becomes irrelevant, especially when you compare them to the humans they meet in a spaceship who have long since become imprisoned by their laziness and gluttony.

I gave the DVD of this movie to my mom as a Christmas present, and she said you could do an entire thesis on it. Nothing could be truer as it is such a brilliant achievement which dazzles us not just on a visual level, but also with its story which is the basis from which all Pixar movies originate. “Wall-E” is the kind of movie I want to see more often, a film which appeals equally to kids and adults as this is not always what Hollywood is quick to put out.

 

The Dark Knight poster

  1. The Dark Knight

The biggest movie of 2008 was also its best. I was blown away with not just what Christopher Nolan accomplished, but of what he got away with in a big budget Hollywood blockbuster. “The Dark Knight” is not just an action movie, but a tragedy on such an epic scale. Many call it the “Empire Strikes Back” of the Batman series, and this is a very apt description. Many will point to this movie’s amazing success as the result of the untimely death of Heath Ledger whose performance as the Joker all but blows away what Jack Nicholson accomplished in Tim Burton’s “Batman,” but the sheer brilliance of the movie is not limited to the late actor’s insanely brilliant work. Each performance in the movie is excellent, and Christian Bale now effectively owns the role of the Caped Crusader in a way no one has before.

Aaron Eckhart also gives a great performance as Harvey “Two-Face” Dent, one which threatened to be the most underrated of 2008. The “white knight” becomes such a tragic figure of revenge, and we come to pity him more than we despise him. The movie is also aided greatly by the always reliable Michael Caine and Morgan Freeman. Everyone does excellent work here, and there is not a single weak performance to be found.

Whereas the other “Batman” movies, the Joel Schumacher ones in particular, were stories about the good guys against the bad guys, “The Dark Knight” is a fascinating look at how the line between right and wrong can be easily blurred. Harvey’s line of how you either die a hero or you live long enough to see yourself become the villain perfectly personifies the dilemmas for every character here. To capture the Joker, Bruce Wayne may end up becoming the very thing he is fighting against. I can’t think of many other summer blockbusters which would ask such questions or be as dark. “The Dark Knight” took a lot of risks, and it more than deserved its huge success. It set the bar very high for future comic book movies, and they will need all the luck they can get to top this one.