Objects in mirror are sadder than they appear

Rating: 9/10 (27 November 2015)

Richard Yates' seminal novel Revolutionary Road, published in 1961 has become one of the quintessential books to understand the post-WWII America with all of its virtues (the promise of a better life, the notion of happiness being attainable by achieving economic abundance, the society and communities as emotional anchors), but also its flaws (the shallowness of a society more concerned about economical success, the fear to see beyond and look for a change, the lack of ambitions and dreams or how they get lost in the way in order to seek comfort.
Frank and April Wheeler have a life other people would die for: a beautiful house in the suburbs, two charming children and they're beloved by their neighbors. Together, they're gonna make a plan to escape from this suffocating and lifeless environment. This is how April finds the perfect solution: they'll sell the house and then move to Paris, where they can find their real purpose in life. Things, however, won't be so easy, as Frank starts to have second thoughts about this idea after he gets promoted at his job, and April is not willing to give up her dream, for it represents her salvation from misery.
Director Sam Mendes assumes the challenge to bring Yates' provocative prose to the big screen with a very faithful adaptation (penned by Justin Haythe), that remarkably recalls that feeling of "Hopeless Emptiness" described by Yates, which ends up devouring silently not only Frank and April's mettlesome minds, but also the ones from the people around them (even if they're not fully aware of it).
Thus Mendes develops a subtle, but emotionally powerful work, backed up by admirable production values, such as Roger Deakins' enticing cinematography, Thomas Newman's delicate music and Kristi Zea's eye-catching production design, that perfectly captures the 50's atmosphere without making it obvious nor redundant.
Leonardo DiCaprio and Kate Winslet find not only an excuse for a long-awaited reunion, but also a perfect vehicle to deliver vividly affecting performances as Frank and April Wheeler. Leaving behind the ghosts of Jack and Rose, they succeed by embodying the souls of two lost people trying to find out who they really are and how they drag each other into a spiral of regrets and frustration.
Along with them, there's a superb supporting casting, featuring Kathy Bates as Helen Givings, the real-state agent enthralled by the Wheelers' "immaculate life" and Michael Shannon (in an Oscar-nominated performance) as John (Helen's son), and emotionally disturbed man, who ironically is the only one able to see Frank and April's distress and will become the voice of truth when everything falls apart for them.
Just like Mendes' Oscar-winning debut American Beauty, this movie is a harsh and effective dissection of life in American suburbia, which by the way hasn't changed that much in over half a century.