Revolutionary Road

By A. Chow
January 22, 2009

Kate Winslet recently took home the Best Actress Golden Globe for her portrayal of a mid-century housewife suffering from the box and delusion that is suburbia in Revolutionary Road . The film has yet to be released and with the buzz of the reunion of Titanic sweethearts Winslet and Leonardio DiCaprio, and all the critical hype, you would think that you've got a winner on your hands. Literally.

Based off the 1961 novel by Richard Yates, director Sam Mendes doesn't disappoint from a directorial standpoint. It showcases suburban angst in its rawest form. Winslet is beautiful as the tormented housewife and DiCaprio reaches a new vulnerability I haven't seen from him before. The performances, needless to say, were outstanding, the structure well-executed.

However.

This portrait film is likely to appeal to few and frustrate many. Its stark expose is difficult to swallow and slow-moving plot may go over the head of the general audience. In many ways, the film comes off as being whiny and ungrateful. Really now, what is so terrible about the lives of the Wheelers? They have a nice modest home, clothes on their back, Frank with a secure job and he's moving up the ladder, and children that adore them.

Revolutionary Road is successful in illustrating a portrait of so many lives out there. But to blame the chronic unhappiness rampant in our society on "suburbia" is a bit much. Suburbia as a "delusion" is just as much as the City being a "delusion." The hopes of grandeur, excitement and individuality is just as much an idea or concept as Suburbia. Aren't City residents falling into another mould? A mould of pretentious individuality.

Alright, alright, I need to slow down here. My review is becoming more of a critique of the concept of Suburban Angst than it is of the film.

Personally I thought the film was incredibly executed but I foresee it as not generating big box office numbers, nor the same notoriety as American Beauty. Though they both share the same concept and themes, American Beauty had a wit about it along with heart. Revolutionary, unfortunately leaves the viewer feeling cold and alienated.

I happened to have high expectations of Revolutionary and though I wasn’t disappointed I had many frustrations. It was one of those films that I battled with internally. There was the film critic side of me that was amazed by the intricate details and the high level of filmmaking that is Revolutionary Road but as a film goer, looking for escapism, Revolutionary was – in lamens terms – a tad depressing.

Even as I write this, I am in the midst of an argument within my own head. It was so dark and eerie that it was absolutely brilliant, but the neediness of the Wheelers, the constant complaints was unnerving. It is a stark portrait of so many people that I know, people who pretend they have the perfect life but are so utterly depressed that their strained smile is saddening. And coming from “suburbia,” I too, have felt the constraints of the expected conservatism and boredom that comes from living just outside of a city, but Revolutionary Road pushes it to the limits.

Instead, rather than focusing on Suburban Angst per se, I think Yates touched upon much greater psychological points that are not directly addressed. April suffers from something much greater than the generalization of Suburban Angst. She is depressed and likely above all else bored. Sure there are many out there with personalities that are suitable as a housewife, but April is not. She is a dreamer with creative tendencies, with many unfulfilled dreams and even more regrets. She simply is not built for the life of a housewife.

Revolutionary Road is definitely not suited for a night of fun and escapist, brainless entertainment. The film left me thinking for hours – about my own life, how Suburbia has affected me, my friends, my family, and it made me think about what I want for myself in the future. I also spent quite a bit of time thinking about the “bigger picture” and how complaints about suburbia are simply pretentious and selfish. If the threshold of unhappiness is having “traditional” accomplishments and validating that as unhappiness, I fear for our modern society.

I also thought quite a bit about the film’s artistic value, its clean filmmaking, framing, memorable performances (oh how wonderful Michael Shannon was as the mentally unstable John Givings!) all the technical details that make a movie a film. For this alone, a true film fan should make time for Revolutionary Road.

Wide Release Date: January 23, 2009
Running Time: 1 hour, 59 minutes
Director: Sam Mendes
Screenplay: Justin Haythe
Novel: Richard Yates
Producer: Bobby Cohen, John Hart, Sam Mendes, Scott Rudin
Executive Producers: Henry Fernaine, Marion Rosenberg, David M. Thompson
Music: Thomas Newman
Director of Photography: Roger Deakins
Editor: Tariq Anwar