Road to Perdition

Fresh off of his Best Picture win in 1999 for “American Beauty,” Sam Mendes makes another mesmerizing, beautiful, and picturesque film in 2002’s “Road to Perdition.” Sam Mendes’ films seem to be reliable on the cinematography just as much as the plot and the performances to create a film that take on the true meaning of the word: moving photographs that tell a story. “Road to Perdition” is no exception as every shot could be a photograph, and it is to the credit of cinematographer Conrad L. Hall (who also worked on “American Beauty”) that this is so. Hall has a painterly touch, as if each scene is an empty canvas.

The story follows loyal hit man Michael Sullivan, played with remarkable restraint and subtlety previously unseen by Tom Hanks. Tom Hanks displays a few moments of wit and humor that offset the film’s dark plot. Paul Newman, in one of his last on-screen film roles and at eighty years of age, shows he is as compelling and charismatic as ever as John Rooney, the crime boss Sullivan works for. Newman plays the character with such humanity and grace, as well as a touch of the callous ruthlessness worthy of the title mob boss. Newman’s eyes always play an integral role in his characters, as the conflict in his eyes belies the conflict in his character. The final showdown between Sullivan and Rooney is as heartbreaking as it is cathartic. The central heart of this movie, however, comes from Sullivan’s son, Michael Sullivan Jr., played with incredible range and maturity by twelve-year-old newcomer Tyler Hoechlin.

Unaware of what his father does for a living, follows him one night out of curiosity and witnesses a crime with devastating consequences. Sharing a paternal relationship with Rooney, Rooney’s son Connor (played with violent impulsion by Daniel Craig) is extremely jealous. He takes revenge on Sullivan by killing his wife and younger son, Peter. Sullivan subsequently goes on the lam to plot and carry out the murder of his boss’s son. The word perdition means the utter loss of a soul, eternal damnation, and hell. It is upon this path that Sullivan travels upon with his son, a moral struggle, and he must look inside himself and decide exactly how far he is willing to go to avenge the death of his family. Is it possible to save his own soul for the sake of redemption, or will he drag his son down with him? The two go on a journey of trust, revenge, and what it truly means to be family.

Also notable is Jude Law proves he is much more than a pretty face with his role as Harlen MaGuire. Law’s creepy, malicious, and deranged turn as a serial killer disguised as a photographer for the press is terrifying. MaGuire is charged with the job of tracking down and killing both Sullivan and his son. In a confrontation in a diner, Law’s words are laced with such venom and malevolence; you can’t help but feel the hairs on the back of your neck stand up as he describes how he likes to take photos of the dead.

The art direction in the film is also incredible. Set in the gangster world of Capone in the thirties, the men’s costumes and set pieces are evocative of the era and help create the stiff, cold tension in the story. It is the camera and the flawless music that lends an elegant flowing style that is very much reminiscent of the style in “American Beauty.” Mirrors are craftily used as a metaphor throughout the film, forcing the characters to look inward.

Overall, this is a beautiful film. It was a shame that “Chicago,” and this film were competing for awards in the same year, because this film would have easily swept the art direction, costume, music, and sound categories, but facing a fantastic period-piece musical, it was very unlikely. It is also surprising Tom Hanks did not garner an Oscar nomination for what is arguably one of the best performances of his career. Up against heavy titans as Daniel-Day Lewis in “Gangs of New York,” Michael Caine in “The Quiet American,” Nicolas Cage in “Adaption,” Jack Nicholson in “About Schmidt,” and the very deserving win for Adrien Brody in “The Pianist,” this role did not stand a chance in a pool of powerhouse performances. Paul Newman was nominated for an Oscar and was denied for the seventh time.

Award retrospection aside, Sam Mendes proved he is still at the top of his game as one of the most talented directors working today. This film has everything you want: a haunting and compelling plot, stand-out performances from the whole cast, and outstanding camera work and direction. “Road to Perdition” as hellacious as it sounds, proves to be a road well worth traveling.

Rating: 4 1/2 stars
Where to Find It: On DVD, new on BluRay