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The Evidence
I’m afraid the plot synopsis doesn’t do director Sam Mendes’ new film justice. Based on the 1961 novel of the same name by Richard Yates, Revolutionary Road is a two-hour bolt of emotional lightning which will leave the viewer shaken and drained. It took at least 24 hours for me shake the effect off, and it wasn’t easy. This is not a simple story ofasour marriage driven by misery, or a just a series of domestic donnybrooks. With Mendes at the helm, you might expect a continuation of themes he explored in American Beauty, his Oscar-winner from 1999. Not true. Aside from the familiar environment, these two films are as different as night and day; in fact, as dark as Beauty was, it now seems like the day part in comparison.
In order to get fully engaged in this story, it’s important to keep in mind it’s set in the 1950s. Yates must have known that the values of work, marriage, and American society as a whole was changing, as his novel recieved strong notice upon publication. Yet, it was also ahead of its time in terms of the shifting perspectives and attitudes of men and women, which may have led to it being somewhat forgotten shortly afterward. There’s no doubt Yates writes about domestic conformity and the American Dream gone awry (which must have appealed to Mendes considering his resume), however he also gave an early example of the Problem With No Name when it came to April’s character and her view of the world. Frank is the typical husband who loves his wife as a wife and not exactly as a woman (more often than not, he’s less than amatory); as a result, April feels like she is psychologically trapped, a notion Frank deems absurd.
Early in the film—which is near-perfect adaptation by Justin Haythe (The Clearing)—we see Frank and April meet at a party. He’s likes her because he makes her laugh. She likes him because he’s immensely interesting. Almost immediately, we jump forward to the mid-’50s, where April amateurishly attempts to do stage work. Frank is rather embarrassed, which leads to a verbal match inside and outside their car on the highway; at this point, we realize this is not their first altercation, although this time Frank manages to stop himself from punching her. This ten-minute sequence is actually the prologue, as it happens before the main title. In a novel, this sequence wouldn’t be deemed risky, and most screenwriters would have revised it so that the audience can have some time to invest into these two characters. Luckily, Haythe didn’t do this and he remains quite faithful to Yates throughout, with very little deleted and one specific injection which I will touch upon later.
Frank only wants to maintain a state of normalcy, and he only unleashes frustration on his wife when she attempts to do something on her own (like the stage work). Sex between them temporarily ceases, and this is partly the reason why Frank decides to have an affair. One particularly striking sequence is when Frank returns home after taking a vaginal dip in the secretarial pool and finds his wife and children wishing him happy birthday, complete with frosting and candles. Frank is so moved and taken aback that he looks like he’s on the verge of tears…not necessarily because of the situation, but because she’s doing what he wants her to do. Following this is April laying out her plan to her husband, telling him everything he wants to hear (read Opening Statement again), using everything she was taught in grade-school Home Economics class. It’s only a matter of time when Frank realizes she really doesn’t want to play house anymore…
Sam Mendes has emerged as one of the finest filmmakers (and storytellers) of the past decade. American Beauty became a word-of-mouth hit which garnered nearly unanimous acclaim. His second film, Road To Perdition, was a ’30s gangster tale about fathers and sons, sins and redemption; not only did I deem it better than Beauty, but I also thought it was the best film of the year (sadly, the hyped-up Chicago hogged the spotlight come Oscar time). Next came Jarhead, a compelling soldier’s account of the Iraq War. In 2003,Mendes married Kate Winslet, who was already emerging as one of the finest actresses of her generation. Is Revolutionary Road his masterpiece? It’s too early to say, but it gets my vote as the finest film of his career thus far, and I hail it as a must-see if you liked any of his previous films. As always, Mendes’ eye for detail, intelligent approach, and dead-on observations are here and they are undisputed and uncompromising.

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