Road To Perdition

Morose, stunningly shot and designed to leave you with a distinct feeling of negativity, “Road To Perdition” is an interesting and thought-provoking movie. And until “A History of Violence” came out, and the entry this year of “Watchmen”, this was probably the best adaptation of a serious graphic novel about. Well worth a watch.

Michael Sullivan (Hanks), a ‘fixer’, finds himself on the run from his former employer (Newman) in Prohibition-era America, pursued by an earnest assassin (Law) assigned to protect both his former employer and his out-of-control son (Craig).
Tom Hanks, Paul Newman and Daniel Craig hit it home for the guys, but there’s a distinct lack of oestrogen here. Jude Law makes a point of subverting your expectations of him here too, in a very different and interesting role. Tom Hanks is the star here, no doubt about it. The plot centres around his character Michael Sullivan, the focus of most of the narrative’s movements is toward his motivations and actions, and he is the best actor onscreen here. Portraying a man who comes from, and loses, everything, the despair and iron will to avenge is expertly portrayed by the former Mr. Gump. In fact, this is miles away from the Tom Hanks we’re familiar with, and more justification for his acting prowess. The young actor playing Sullivan’s son, Tyler Hoechlin, is fantastic as well, holding his own against Hanks in their scenes together.

Paul Newman, Daniel Craig and Jude Law are the supports who deserve most mention, though many other recognisable actors have bit-parts. Newman, as the boss of Hank’s character Sullivan and Craig’s father, is brilliant as an old man who realises that two men he has treated as sons have defined his life, and his fate. If James Bond met Craig’s character here, 007 would have no hesitation in pumping him with lead, as the character is evil, and pathetic in his behaviour. A truly disgusting individual, Craig imbues him with a sinister edge. Much can be said the same for Law’s assassin, who chases the protagonist down, and it is remarkable that this is the very same actor mocked for his poor acting skills. I personally thought he was excellent in this film, and he should chose more characters like this; perhaps then many of his doubters would be silenced.

Jennifer Jason Leigh is the only female of note in “Perdition”, as Hanks’ wife, and she does well in her limited time here to portray a loyal and sympathetic wife and mother. The true tragedy of the film comes through in one of her scenes, and without her it is likely that the film would have lost much of its emotional impact.
The jump from page to film here is sumptuous in its execution, as Sam Mendes (director of “American Beauty”) evokes the grimy, shadowed world of prohibition-era America. The dialogue sizzles between Newman and Hanks, and the music haunts, perhaps not as memorably as in “Beauty” but aptly for the film here. Mendes had it hard in following up “Beauty”, but “Perdition” is to this reviewer more impressive. Perhaps it’s something about period films, but they are always more visually arresting, as well as more interesting plot-wise. Despite this not being his own conception, Mendes’ hold of the story and its execution are expertly done, and he has a one-two punch that many other directors would envy.

Taken from a graphic novel, the interactions are perhaps more engaging onscreen with such actors as Newman and Hanks portraying them. Hanks manages to exude a threatening presence, but his dialogue begins to present the viewer with the human side of the character, ingratiating him to us more than if we were just to see him and imagine his voice. Thomas Newman marries the music to the visuals with eerie accuracy, and the score isn’t readily memorable, but nevertheless still impressive whilst watching the film. The darkness and shadows that metaphorically surround Sullivan and his son on their path to vengeance is literally presented through the colours and sets here. The feelings taken from the movie can probably be traced back to this also, as the darkness of every scene reflects the tone and mood, and the final scenes, along with their brightness and light, are juxtaposed against the plot to great, and tragic, effect.

Tragic, dark and stunningly visualised, “Perdition” is by no means an uplifting or entertaining movie to watch. But watch it you should; for Hanks’ performance alongside Newman, and for the beautiful imagery on display of gangland kills in a darker time.

8/10