Disconcertingly mirrors its subject matter - attempts to be different, but ends up disappointingly the same

Rating: 8/10 (20 February 2009)

Familiarity need not always be a bad thing. The concept of film genres would be essentially void without a cultural recognition of visual and narrative patterns trends establishing a sect of films. Moreover, many cinematic works incorporate the notion of cultural baggage, using familiarity with previously established conventions to add emphasis to or to subvert contemporary efforts. However, the notion of baggage can also work towards an opposite effect, making narrative material which may have once appeared fresh come across as repetitive and unoriginal, devaluing an otherwise quality film. This proves to be exactly the case with Sam Mendes' adaptation of Richard Yates' novel Revolutionary Road. Attacking the film's formidable quality would be senseless, yet the consistent sense of unoriginality ensures the film never quite attains its desired effect, despite it being a stunningly powerful attempt.
Yet perhaps this concern with familiarity should hardly come as a surprise, as the concept had encircled Revolutionary Road right from the casting of its two leads. Despite the promised subversion of the timeless love story offered in Titanic, the film's marketing and hype banked very much on the reuniting of co-stars Leonardo DiCaprio and Kate Winslet and the hope that the chemistry and spark between them would go on as much as their hearts once did, leading to a potential case of cultural expectations overshadowing the effort in question. The same goes for American Beauty director Mendes once again digging up a dark undercurrent to supposedly sublime suburban life. Such a combination of factors makes the fact that Revolutionary Road is such an excellent film in itself feel almost like a shallow construction of a success, as the film appeared so tailor made to be nothing less that its own quality appears to paradoxically seem unsatisfactory.
Nevertheless, the familiarity of the film extends beyond its cast and crew, as the subject matter derived from Yates' novel manages to do what it does exceedingly well while somehow managing to find nothing new to offer that countless other depictions of 1950s married life had not already unearthed. This adherence to convention becomes difficult to navigate - on one hand, Mendes might be seen as making a critical comment on the desired homogeneity of the time through ironically making use of 1950s stereotypes and familiar narrative arcs. Yet at the same time, the film exudes a continual sense of award baiting self- importance, an implied attempt to elevate it to the level of 'high drama', from the neatly pristine period exteriors and pastel coloured costumes to Thomas Newman's wistful, tinkling piano score which appears to be directly plundered from his previous work with Mendes on American Beauty. The continual sense of the 'serious, important film' Revolutionary Road seemingly set out to be, in turn makes it feel less serious and important.
However, such a wave of criticisms need not overshadow what is fundamentally still an incredibly powerful, moving and classy piece of work. Mendes' directorial capabilities have lost none of their stunning emotional clout, and he demonstrates a disconcerting skill to casually manipulate audience emotions. Whether provoking cries of frustration towards the annoyingly chirpy neighbours and their inability to come to terms with the Wheelers' plan to break out of suburban conformity and begin new, more fulfilling lives in Paris, or the crushing emotional anguish at the notion that such a beacon of hope may not end up becoming a reality, do not expect to shake the flooring aftertaste of the film for quite some time. Similarly, master cinematographer Roger Deakins' use of tight framing within close interiors creates an exquisitely subtle yet unbearably uncomfortable sense of claustrophobia, perfectly coupling the barely perceivable silent emotional scream of repression pervading the film. Finally, the film's unexpectedly unorthodox yet somehow fitting final shot is so mischievously welcome that it just about merits seeing the whole film in itself.
Despite the hype, the genuinely masterful performances generated by Leonardo DiCaprio and Kate Winslet cannot be ignored, their shining chemistry both during romantic interludes and hysterical screaming fits creating a supremely affecting piece of interpersonal drama. Few sights are so disillusioning as seeing the enthusiastic, hopeful spark in the eyes of DiCaprio at the film's opening being replaced by a flinty, critical stare painfully shortly afterwards, encapsulating the impish youngster being swallowed up through a desire to fit in with the environment surrounding him. Similarly, Winslet's eyes denote a harrowing sadness which similarly becomes increasingly deadened, to the point of the viewer being hard pressed to avoid tears themselves, conventional narrative or not. The tremendous performances of the lead duo are well supported by the efforts of Kathy Bates, gleefully irritating yet crucially heart wrenching in turn as the Wheelers' chirpy neighbour. The explosive Michael Shannon barely holds back from chewing the scenery as Bates' son, recently released from a mental hospital, with Shannon's caustic tone perfect for his nonconformist character's bitter rants. Finally, Dylan Baker is a wryly delightful presence as DiCaprio's alcoholic co-worker who hides from the dismally monotonous workplace through drinks and witty criticisms.
Despite being a class act on all fronts, Revolutionary Road is in essence just as cinematically hollow as the lifestyle depicted, offering little new to offer regarding its subject matter. Nonetheless, the exceptional cast and powerfully measured direction cannot be ignored, nor can the film's lingering emotional clout. Yet, one cannot help wishing for untrod territory to be explored, or at least for Mendes to stay away from suburbia for future cinematic offerings.
-8/10