Revolutionary Road DVD Review
Posted by Erik Luers on 06.03.2009
Take another trip down the road..........
Released on December 26th 2008, Sam Mendes' Revolutionary Road was a modest critical success upon its arrival. One respected critic from The New York Observer said yay ("Revolutionary Road, under the detailed, sharp-eyed guidance of Sam Mendes, is a flawless, moment-to-moment autopsy of a marriage on the rocks and an indictment of the American Dream gone sour" proclaimed Rex Reed) while another Observer critic said nay ("Sam Mendes’ Revolutionary Road, from the screenplay by Justin Haythe, based on the novel by Richard Yates, unfolds in a vale of disillusion and disenchantment so dismal that it seems a strange project to come to market in a crisis-laden period of crumbling values" remarked the great Andrew Sarris). Was the film simply too dark for most moviegoers? It received four Golden Globe nominations (and won Best Actress-Drama for Kate Winslet), and garnered three Oscar noms (including one for the highly deserving, formerly under the radar Michael Shannon). And while the film didn't go home with any golden men on Oscar night (Winslet's other 2008 release, The Reader, received more attention), some might say that Revolutionary Road will be the one most fondly remembered by moviegoers. It's an impeccably skilled, high crafted drama.
The Film
Below is my official review for the film, originally published here on 411mania on January 21st, 2009. Having viewed the film again (and then a third time with commentary by the director and screenwriter), has my opinion changed at all? Has time allowed me to step away from the initial rush I felt while experiencing the film for the first time and judge it more, umm, academically? Well, the film is certainly different at home than it was on the big screen, I can tell you that much.
This is not to say that any of its power is lost upon a viewing at home, however, but just that it was different. My ears listened to Justin Haythe's sharp dialogue much more closely than before. Thomas Newman's musical composition now seemed more painful and haunting, and Roger Deakins' use of lighting, even more striking than my mind had allowed me to remember. This film has a pulse, and that made it a rare treat in 2008.
Last year I only gave three films a nine out of ten score. Granted, I have not seen every film released under the sun from last year, but I have seen a great many, and Revolutionary Road was one of the best. Sam Mendes had been away from the cinema for three years (much too long in my book), and it is somewhat ironic that his new film, Away We Go, is set to be released this Friday, a mere six months after his previous effort. I can't wait. If it is half as good as Revolutionary Road was, then we are in for a real treat.
Sam Mendes' new film, Revolutionary Road, would have made Henrik Ibsen stand up and cheer. Similar in theme to Ibsen's frequently studied and performed play, A Doll's House, Mendes' film is an exercise in sheer power and drastic decision making, focusing on couples that are trapped together in glorious unity; marriage is not a sanctified bond but rather a confinement. Suburbia is that place where dreams go to settle, to take a breather and go painstakingly through the motions from now until death, and its residents understand and act accordingly. Revolutionary Road takes a look at one woman who wouldn't accept this as fact, April Wheeler (played by the very talented Kate Winslet), and her husband, Frank (a very solid Leonardo DiCaprio). The need to conform in Frank counteracts the desire to break free in April, and the film focuses on their many heated arguments and conflicting interests. Let the fireworks begin.
I've already spoken with a few people about the film and we each have had quite a lot to say. This film is not only a conversation starter but a piece in which to revolve a whole night around, meticulously taking apart each scene to see how Mendes and his cast got everything right. If one sees the film as being anchored by the powerful shouting matches (never over done) between husband and wife, they are correct. If one sees it as a retrospective view of oppressed housewives and mothers, then the conversation can really get started. One can also note that Revolutionary Road is not only an address but a parable for where potentially happy couples go to whither and perish. The Wheelers' next door neighbors are as broken down, helpless, and confused as they are. In trying to find happiness (whether it be by getting married, having children, or even a new job), these men and women sacrifice their need to be something special, something different.
"I want to feel things," Frank tells his wife, and we hear him loud and clear. Is a promotion really that important if just you put your head and go through the motions? Revolutionary Road also asks the question of what is success and to what degree can it be measured. By financial gain? Accumulated wealth? Material possessions? No two characters in this film can agree on what truly makes them happy. In its own twisted way, the film plays out like a champion of individualism.
I hesitate to say that this film exposes a battle between the sexes as it may dumb down what Justin Haythe's screenplay (and Richard Yates' original novel) set out to accomplish, but men and women are not viewed as equals here. I've begun to wonder if the sex of the viewer will determine which character he/she will side with/relate to. This isn't to say that men will not also side with April (both characters are fully fleshed out and well developed), but still, it's something I ponder. Frank feels the pressure of society beating down on him at every turn and, dare I say, that by moving to Paris, he would be sacrificing his manhood for a Bohemian lifestyle. If he cannot support his wife and children by growing financially, his figurative castration will come as a result of a lack of worth.
Mendes, a versatile stage director in his own right, wisely casts familiar faces to New York theater audiences. Everyone from David Harbour to Richard Easton to Dylan Baker and Zoe Kazan (Elia's granddaughter) perform admirably and help enhance the film's vast ensemble. Special mention must go to Michael Shannon however as John, the blunt and outspoken disabled son of the Givings. His character is the voice of the film, uncovering the secrets and hidden agendas of Revolutionary Road's residents. Shannon's characterization is both comical and almost unbearably harsh; just when you think the film may suffer from too much unrelenting dead pan seriousness, Shannon energizes the picture and elevates it to another level. Along with Winslet and DiCaprio, Shannon really bites into the material vigorously, prompting the viewer to sit up and take note.
At the risk of sounding like an awestruck shill (though how you be when you're familiar with the man's invigorating work), I find myself once again praising Roger Deakins' work behind the camera, and his uncanny ability to craft beautiful images out of the ordinary. Look at the way the business men get off the train for work; the frame is covered in suits and hats, each faceless and lost in the crowd. When the men walk down the steps at Grand Central station, the image has a shiny, 1950s musical feel to it, echoing Joseph L. Mankiewicz's Guys and Dolls. One may also simultaneously recollect the opening scene in Fred Coe's A Thousand Clowns, in which hundreds of men and women depressingly have to (gasp) go to work for a living.
Another startling image that is both uncomfortably creepy and romantically ominous is one in which April, having just returned from the woods across the street, walks up a hill to her neighbor's home and leans against a tree, peering into her own home. Frank stares back, shaded in purple and blue rays given off by the diminishing sun, and the effect is mesmerizing. As the couple stare at one another in silence, the film is summed up stunningly in this poignant, non verbal exchange. The following breakfast scene, covered in bright, piercing sunlight (windows play a large role here in establishing each characters' voyeuristic obsessions) is equally unsettling while being expertly shot and performed, and Thomas Newman's simple but rightfully repetitious score plays softly in the background.
Edward Albee's groundbreaking play, Who's Afraid of Virgina Woolf ?, was a milestone in American theater, frankly depicting the dark and playfully perverse side of relationships. Revolutionary Road takes this concept and runs with it. In one particular sequence (the dance club/restaurant scene), I was directly reminded of Mike Nichols' film adaptation of Albee's play. Both April and Martha use dance (and alcohol) to woo the forbidden man, already married and off limits, and the sexual chemistry the actors give off is unashamedly lacking of innocence. As April dances with Shep, her flirtations seem to come out of sexual advances and animalistic mating rituals. The moment is covered in red (lust) while Deakins shoots most of the other scenes in white (purity), indicating a visually dramatic shift in the story. While the images are startling, Deakins never allows them to be obvious or distracting, stealing away attention from the narrative at hand.
Revolutionary Road is an experience that will shock, disturb, and profoundly move you. At a time when you're lucky enough to come across a film possessing one of these traits, perhaps this film is a real blessing. Although it falters a little bit towards the end, using an unsatisfying epilogue to further push its points (after one scene's powerful cut to black, the film goes on for five minutes too long, relying on a "the more things change, the more they stay the same" message), the film still leaves you breathless. Sam Mendes has made a film that appears utterly timeless and yet strikingly topical and urgent. You know, sometimes Paris is just too far away....
Film: 9.0
Technical Aspects
Video: Presented in its original 2:35:1 Widescreen aspect ratio (and enhanced for 16:9 TVs), Revolutionary Road looks quite good on standard DVD. The film is very bright and often bathed in evasive sunlight, and the images are quite beautiful to view. The white floors, the white walls, the white clothes, and more all vividly stand out here, and the DVD does justice to Roger Deakins' breathtaking cinematography (especially in the morning/afternoon sequences). Some of the scenes at night are a mixed bag (the bits in the car, for instance), but they are far and few between and not very distracting. This is one of the most visually impressive films of last year and its reputation is upheld on this DVD. Twenty chapter stops are included.
Audio: Presented in 5.1 Surround Sound (English), the audio track is first rate. The dialogue scenes (crucial, of course, to this dialogue heavy movie) are all nicely balanced, and Thomas Newman's excellent score comes through nicely at low key, pivotal moments. What a score it is! There is no hissing or imperfections on this track and everything comes through loud and clear. English, French, and Spanish subtitles and language tracks are included.
Technical Aspects: 8.0
Special Features
Feature Commentary with Director Sam Mendes and screenwriter Justin Haythe: This very informative, lively track was a joy to listen to as both men are very smart and passionate about this piece. Mendes and Haythe frequently talk about Richard Yates' beloved, original novel and how changes/edits had to be made for the story to work on screen (a line would be given to a different character, flashbacks were extracted, etc.). Some interesting bits include Mendes talking about the film's heavily debated ending (his opinion: April did not intentionally commit suicide), Steven Spielberg's first viewing of the film, and Mendes' description of a dinner he had with American Beauty scribe, Alan Ball (Ball tried to stab him with a fork upon the first viewing of Beauty), and a trivia tidbit that involves a painting of the Titanic which lays against the bedroom wall as Frank and April argue (he admits that he only included the painting so that he could point it out on the inevitable DVD commentary). This is a very strong discussion and dissection of the film.
Deleted Scenes (9:49): Five deleted scenes are included (with optional director and screenwriter commentary), and damn it, I liked them all. Sure, Mendes and Haythe make good points on why they chose to cut them, but these scenes feature some great acting by DiCaprio and Winslet. The "I'm Sorry" scene may not have been necessary in the overall flow of things, but it does feature the Wheeler kids, and that adds something to the film. The "Birthday" scene is tremendous and I wish they would have kept it in (DiCaprio's Frank becomes more layered here), while I can understand why they cut out "Big Shot" (a poignant but unnecessary flashback sequence between Frank and his father). "Nothing's Permanent" is also good and may be remembered for partially being shown in the film's original theatrical trailer (oddly not included here). It's a nice little flashback moment that shows Frank and April, young and in love, and it's a sweet and optimistic two minutes. "Dear Frank" is for viewers who like their endings a little less ambiguous and, even though the film works better without it, DiCaprio does great work here, reading the letter left to him by the deceased April. Again, this scene would've provided the film with answers it's better off without, but it's worth watching (and it was taken from Yates' original novel).
Lives of Quiet Desperation: The Making of Revolutionary Road (29:00): A talking heads piece, yes, but a good talking heads piece that covers a lot of ground in a short period of time. Kate Winslet had come across the story four years ago while her husband was shooting Jarhead, and she had desperately wanted to play the role of April. DiCaprio came on board ten weeks before shooting (the two actors were looking for a "reunion" project of sorts), and the rest is movie history. A lot of attention is nicely (and deservedly) paid to Roger Deakins and the art direction crew that vividly brought to life the hustle and bustle of the 1950s. Some behind the scenes footage is shown (a shut down Central Station filled with extras is a highlight), and there's enough here for any boom mic enthusiast.
Trailers for David Fincher's The Curious Case of Benjamin Button, Edward Zwick's Defiance, and Paul Thomas Anderson's There Will Be Blood are included and play when the DVD starts up.
Extras: 8.0
Film: 9.0 Technical Aspects: 8.0 Extras: 8.0
The 411: I have now viewed Revolutionary Road three times, once in theaters, once on DVD, and once with director/writer commentary. The film lends itself to multiple viewings and close study, as everything from the direction to the acting, writing, musical composing, and cinematography is hauntingly first rate. Shot in a professional, classical style of filmmaking that has long been deemed old fashioned, Mendes has made a film which appears modern day Sirkian, and that is a high compliment. The DVD special features leave a little to be desired, but it's good enough (the commentary track is superb). I encourage you all to watch, debate, and hopefully appreciate Revolutionary Road in the years to come.
