The word ‘masterpiece’ gets thrown around a lot these days. It is a word that becomes easy to use when just describing a film you like, or because the film is styled a certain way, regardless of convention. But a film needs to be truly special to encompass the word properly. It needs to push the boundaries of the norm or embrace those normalities so well it becomes a flawless spectacle. “Road to Perdition” might not even be in the running for a lot of people in a conversation surrounding special cinema; it may even be judged as a film that some have seen but don’t remember all too well — a travesty in its own right.
Following on from 1999’s “American Beauty,” the debut film from Sam Mendes that a large majority of the universe (although I can’t speak for those creatures on Mars) would consider being his masterpiece. But if the opportunity arises to watch “Road to Perdition” again, then take it. You’ll find — after a closer and more detailed inspection — is a deeply layered, undeniably stylish, and sophisticated story that is structured by the utmost skill and an unquestionable amount of subtlety. This is no mere gangster revenge thriller — to even suggest it as such would be a crime. Because “Road to Perdition” will turn you into an emotional wreck that turns the tables into a cross-examination.
More in Common with ‘American Beauty’ than Initially Seen
“American Beauty” and “Road to Perdition” are two stark films in comparison, right? Well, they are actually much more alike than one would think. In fact, this makes the progression from one to the next a lot more understandable. Both films are structured around the development of relationships from flawed beginnings, before evolving into something more. And who leads from the front in both stories? Two imposing paternal figures, men who are cut from vastly different cloth but share a certain quality. Each of these films expertly uses the element of surprise fantastically as well, whether it with the overall narrative or through an unexpected death. It keeps you on your toes and completely eliminates whatever feeling you may have had regarding the film’s formula.
If you were to take a step back and judge this film from the distance, one might think that it’s a simple game of cat and mouse. To those people, I say…how dare you! The film is littered with delicate relationships that are constantly changing throughout. It isn’t just about catch and kill; far from it even. The position of power flips upside down in an instance. Who is chasing who, really? Are they pursuing one another, or is it a dream they are chasing?
However, this is a gangster flick, after all, let’s not forget that, but one that feels alone in the genre. It’s like the outsider kid at school that no one knows how to approach until you learn more about them. “Road to Perdition” is a unique member of the gangster genre. It is a film fueled by revenge that harnesses the power of redemption. But it is also one that explores the meaning of family, the meaning of life, what it means to be good and honest but with extreme frailties and flaws.
A Film About Relationships and Bonds
Paul Newman in “Road to Perdition.” (Photo: Dreamworks Pictures).
Sam Mendes directs the hell out of this film; it is incredibly nuanced and calm, structured by great moments of clarity and joy. There is such a wonderful sense of simplicity to the proceedings, but it’s not all daisies and daffodils, you know. The walls of serenity are often smashed to pieces right in front of our eyes. The film’s violence ensnares everything in its path like a frenzy of wild poison ivy. How does one change the tempo of a film at the drop of a hat so effectively you might ask? With a Thomas Newman score, that’s how. A masterful score — which is almost as iconic as the film itself because of the man behind it. It picks and chooses when to dictate the pace of the film or to react to the event. And with every opportunity, it succeeds at becoming ingrained into each and every scene.
The film has long been associated with certain iconographies and representations that are established very early on. The meaning of water is the most identifiable, specifically its relationship with death. It becomes synonymous with the film; the big defining moments take place in the presence of water (in fact, two of the most recognizable moments play out in the rain). And what about the ill-fated finale? That’s right, it takes place next to a giant lake. To establish the motif between water/weather and death is clever though; two uncontrollable absolutes walking side by side, both as unpredictable as the other.
An Undeniable and Underrated Masterpiece
But for the most part, the film is about relationships on a variety of levels, specifically the relationship between father and son. Think of it as a three-way seesaw (yes, there is such a thing, I checked) between four characters, with Mike Sullivan (Tom Hanks) and Mr. Rooney (Paul Newman) being the strongest bond of all. This adopted relationship is established as the primary, with the ostracized sons Connor Rooney (Daniel Craig) and Mike Jr. (Tyler Hoechin) feeling the brunt of a tough love style of parenting. The film is a journey of self-discovery because what is evident and slowly begins to establish itself is the idea that blood really is thicker than bootleg liquor. The growth and eventual breakdown of key relationships are what cause the inevitable downfall of these characters, and the emotion accompanying it… (sniff) I don’t want to talk about it.
Tom Hanks in “Road to Perdition.” (Photo: Dreamworks Pictures).
The film is an undeniable masterpiece and cements its place as one due to the skill of its cinematographer, the late great Conrad Hall. An artist with the camera and a worthy winner of that year’s Oscar (his third overall after “Butch Cassidy and the Sundance Kid” and “American Beauty”). Hall implements his roots early in the film with a melancholic feeling of loneliness, representing brief foresight into the future. Hall’s framing enhances the film’s themes; his eye for detail, and an unrelenting need for high-stakes emotion propel the picture. Hall and Newman also share a powerful relationship too. Their understanding is telepathically perfect, and nothing highlights this more than the silent death of John Rooney in the rain. If there’s a more exquisite piece of cinema this century, I’ve yet to see it, and this is just one of the many examples of Hall at his almighty best.
A Film that Becomes Better the More You Experience It
Has a gangster film ever been as subtle and poetic as “Road to Perdition?” A genre that is usually so hellbent on portraying death in such a fantastical “let’s see who can express it in the most extravagant of ways.” We rarely see death in this movie because we don’t need to. In fact, it would probably ruin such beautiful moments. An angsty close-up of a battle-weary Tom Hanks is all you will ever need to get the message across. It’s been 20 years since this film came out, and in all that time it has evolved so much. It has stood the test of time and is now better off for it. It is one of the great cinematic triumphs of the 21st Century. With its long list of redeeming qualities, it’s a film that becomes better and better the more you experience it.
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