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This suspense-filled epic of hitman Michael Sullivan, directed by Sam Mendes, has as great style and cinematic brilliance as his American Beauty, though it is great darker. Sullivan (Tom Hanks), the adoptive son of John Rooney (Paul Newman), is a cold-blooded killer working for his crime boss “father” in the winter of 1931, when his beget twelve-year-old son, Mike Jr., inadvertently witnesses a “hit” in which his father participates.
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Subsequently, the Sullivans, father and son, select off for Chicago to meet with Frank Nitti (Stanley Tucci), underworld lieutenant to Al Capone. Mike Sullivan, Sr. is also hoping to pick up to Perdition, an appropriately named Midwestern town, so he can leave is son with his sister-in-law. Sadistic hitman Harlan Maguire (Jude Law), who enjoys photographing the death throes of his victims, is soon on the Sullivans’ dart to through the midwest.
Conrad L. Hall, to whom the film is dedicated, uses photography to its fullest advantage winning a posthumous Academy Award for his cinematography. Shot in winter, the film preserves the flavor of early murky and white films, with gripping contrasts, and the employ of dismal, somber colors, when colors are ancient at all. Snow, ice, rain, and fog perpetuate the wintry darkness of the scenes, and Hall’s spend of architectural framing is glowing, particularly his repeated consume of windows. He keeps the scenes simple, often focusing on individual characters in contexts which announce their emotional states. In one memorable scene, for example, light from a streetlight outside a window casts the shadow of rain on an interior wall, suggesting both tears and cleansing.
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Newman is terrific as an aging mob boss, playing his portion with honest the true mix of frailty and cruelty (for which he was nominated for an Academy Award) . Tyler Hoechlin, as 12-year-old Mike, Jr., reveals his fears and vulnerabilities at the same time that he shows his satisfaction as the center of his father’s attention (winning Best Young Actor from the Broadcast Film Critics Association) . Jude Law, made up to spy like a just, wild-eyed psychopath, is homely. Hanks looks menacing and acts viciously until his grief for his son overtakes all other emotions in a lively, climactic scene, though it is difficult to collect him in the role of a hitman.
Period music adds style to the film, and unique music by Thomas Newman (and the title song by John Williams), mostly piano and strings, preserves the period tone. Filled with the apprehension of violence and great suspense, this noir film gives a human face to mob violence in the thirties. Mary Whipple
Sam Mendes’ “The Road to Perdition” is a film about family: extended, brother against brother, father and sons and ultimately father against sons. It’s about the world of Men in powerful the same tradition as “East of Eden,” which it thematically resembles. Mendes tackles ample ideas here: the sanctity of the family, a father’s esteem of family, a father’s upright to protect his family and a natural versus an adopted son’s situation in a family (the accurate of succession) . But Mendes uses the diminutive details of life to manufacture these themes so that his lofty ideas have a pervasive as well as persuasive attain on the viewer.
Michael Sullivan (Tom Hanks) is a family man (2 sons, Michael Jr. and Peter) who works for John Rooney (Paul Newman) as a bodyguard and hit man. John has a son, Connor (David Craig) who is intensely jealous of his father’s relationship with Michael. It is determined that John prefers Michael: strong, ample, shining, over his natural son, Connor: passe, smarmy, conniving, underhanded, hotheaded.
One evening, Michael Jr., enthusiastic and piquant to rep out what exactly his father does for a living, hides in his father’s car while Michael Sr. goes out on a “business call” with Connor to strong arm an associate that ends with Connor recklessly killing the associate with Michael Jr. witnessing the entire event.
This proves to be the turning point in the film and the event that sets the remainder of the film in motion: can Michael Jr. be trusted to hold his mouth shut? Connor has some distinct ideas about this.
One of the most impressive state pieces of the film is a showdown between Michael and John Rooney and his henchman on a public street at night in the pouring rain, shot with absolutely no sound nor blood in notice. It is as effective in it’s procedure as the last, very bloody scene in “Bonnie and Clyde.”
Conrad Hall has shot the film in a unlit, grayish, almost colorless palette very similar to
“The Yards,” also coincidentally a film about a family fervent in crime. The criminal life for Hall and Mendes then is not the chiaroscuro life that Coppola envisions it in his Godfather trilogy, but one of shadowy and gray signifying a life of hiding, aid alleys and drudgery devoid of color, enjoyment and living. The music is also extremely effective and evocative especially since Mendes has shot titanic portions of the film without dialogue.
The acting is top drawer with Tyler Hoechlin as Michael Jr. almost stealing the report away from the always effective Tom Hanks, Jude Law and Paul Newman.
Sam Mendes has fashioned a film of the utmost purity and beauty: a tone poem to the family and to the father-son relationship in particular.
“The Road to Perdition” is a film that resonates with regret and sadness but more importantly an over-riding feeling that, as gangsters “getting into heaven”as John Rooney states… is not a possibility.
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