*** Official "ROAD TO PERDITION" Discussion Thread (1 Viewer)

[Vickie_M]

quote:

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I interpreted the scene where Rooney said "I'm glad it was you" as meaning that Rooney knew that eventualy his life would end with him being killed and he was glad to be killed by someone he loved.
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I had a different interpretation. When Mooney realizes that Sullivan is going to kill him, he knows that his son is going to be doomed as he will no longer be protected. Mooney knew that either Sullivan or his son would ultimately be killed. During the film it is made clear that Mooney realizes that Sullivan is more of a son to him than his real son is. When he is about to be shot and says "I'm glad it was you," he's referring to the fact that Sullivan is the "son" who will survive.

I assumed both of these things. I think they can both be true.

 

[Edwin Pereyra]

Anyone else confused?
~Edwin

 

[Jim Robbins]

I really love period movies since it was the generation of my parents. I felt this film really did an excellent job of recreating the bleak depression era and I had no problem with the story or actors. I did feel that Jude Law was a standout however. I also agree with others on "Minority Report" being the standout film for me so far this summer.

 

[Patrick Sun]

It's "Rooney" not ""Mooney" in the film. Does that end the confusion?

 

[Quentin]

Thanks for the comments, Vickie. Since you took the time to make them, I'll try to reply...though, I think we just see the film differently and I doubt that will change!
Ummmm...maybe you should watch again. They're "helped" by one farmer...who TURNS THEM IN FOR THE REWARD!! The only normals who don't turn them over are with Bonnie's mother...and they're not there long enough for it to happen.
Why not just admit this was an awfully convenient plot device?
But...I'm glad you enjoyed the film. I don't think it was BAD, just flawed and short of its potential. And I LOVE "American Beauty".

 

[Rain]

It's "Rooney" not ""Mooney" in the film. Does that end the confusion?

Oops, sorry. I'm really bad with remembering character names. :b

 

[Rich Malloy]

I gotcha, Edwin... I think!
It's basically Death Wish, visually gussied-up with Gordon Willis style cinematography and made P.C. by last minute anti-violence editorializing. The lead performances are leaden - with the very notable exception of Newman - yet another very good actress wasted in a severely underwritten part, and heaps more style than heart. Pretty as a picture (painted by Rembrandt), but dead as a doorknob.
FWIW, I liked it better than most movies I've seen this year, better than "Minority Report" and "The Bourne Identity", not quite "Y Tu Mama Tambien", and hopefully not anywhere near the best I'll see this year.

 

[Rain]

...yet another very good actress wasted in a severely underwritten part...

And I ask again: Would the film as a whole be better had an unknown actress been cast in the part...or for that matter, if Leigh's part had been expanded needlessly just to fill screen time?

 

[Mark Pfeiffer]

And does no one sense the same hypocrisy I do? The delectable revenge of the Death Wish derived plot followed by tacked-on anti-violence sanctimony?

Oh, I sense it too. Hollywood films in general like to thrill the audience with violence and then preach anti-violence in the end.

I think the violence is softened in deference to Hanks' screen image, and the film is the worse for it. (I don't disregard the idea that audiences may have turned on the film if they witnessed Hanks engaging in bluntly brutal acts rather than the operatic, obscured killings depicted.) Instead of challenging us with the character of Michael Sullivan, he is spoonfed to viewers.

Rich, I know that your criticisms have been voiced in other corridors. Analysis of that New York Times Magazine piece on Mendes has led some to question how he may compromise artistry for commercialism.

Road To Perdition is supremely well-made, but to me it never amounts to more than a sturdy, workmanlike film. I just didn't find it to be rich in subtext or emotion. Some of you disagree. That's fine.

 

[Mark Pfeiffer]

It is about fathers and sons--and the relationship between Sullivan and his son, but also the relationships between Rooney and Sullivan vs. Rooney and his actual son.

I agree completely. I only wish Perdition had been able to explore this better than it did.

 

[Tom Ryan]

Sorry...you are wrong again! I won't tell you to read the graphic novel of RtP, or "Lone Wolf and Cub" which is what the graphic novel is based upon...the film is a separate entity. BUT, Sullivan is the "angel of death". That's his character. He IS a hit man/enforcer. He IS a cold blooded killer. Just because he wants his son to escape that doesn't mean it is not so. I would submit that you've got too much Tom Hanks on the brain, and you're cutting the character too much slack because Forrest Gump is in the role. He IS a samurai...loyal to his master above ALL. He IS a killer. Now, the question is, what do you do with that? Mendes did nothing.

I think Max Allan Collins will disagree with your opinions on the film. He loved it and said he thought it was a great film.

 

[Edwin Pereyra]

FWIW, I liked it better than most movies I've seen this year, better than "Minority Report" and "The Bourne Identity", not quite "Y Tu Mama Tambien", and hopefully not anywhere near the best I'll see this year.

Boy, was this a complete turnaround. Now who's talking here - Al Brown or Rich Malloy? The Al Brown that I knew was heralding "Minority Report" as one of the better films this year only to be squashed this time by Malloy.
Now, I'm really confused.
~Edwin

 

[Nathan V]

"I guess "Highway to Hell" was already taken, but my god, road to perdition? " -Rich Malloy

This is the funniest thing I've heard in weeks.
Nathan

 

[Quentin]

Well...MAC is heavily tied to this film, so that doesn't surprise me. He's doing a sequel to the GN and a novelization of the script. Am I suggesting he's kissing up to Dreamworks?
Yes.
Particularly, since the film is a far cry from his GN.

 

[Robert Crawford]

The following is a question and answer excerpt taken from Eonline with Tom Hanks in which he discusses his opinion about what type of man, Michael Sullivan was.




Crawdaddy

 

[Quentin]

Thanks, Robert.

I dig Hanks the most. I wonder if he wishes the film had taken that further? Because I don't believe that people are seeing Sullivan as a "warm and fuzzy assassin who's also a daddy" just because it's Hanks in the role. I think a big part of the blame goes to Mendes and Self.

 

[Quentin]

I think you're on the wrong track, Rich. Mendes didn't write AB or RtP. He's just the director!

The changes he made to the original AB script were, IMO, genius. And, they had nothing to do with Bening's character. She played as she was written by Ball. Say what you will about the film...it's a FAR better product than the original script.

As for RtP...this IS a male film. Whether you like it or not, it IS about men, fathers, sons, etc. Jennifer didn't belong in the film any longer than she was.

At least if you feel like criticizing LaBute you can point to the fact that he's writing his material.

 

[Rich Malloy]

I don't think you can let the director off the hook that easily, Quentin, but I do happen to agree with you about the changes to Ball's "American Beauty" script.

Boy, was this a complete turnaround. Now who's talking here - Al Brown or Rich Malloy? The Al Brown that I knew was heralding "Minority Report" as one of the better films this year only to be squashed this time by Malloy.

Edwin, you're probably mistaking Al's pre-release hopes for Rich's post-release reality! Both were very much looking forward to "Minority Report"; both were letdown. Still a good film, but post-"a.i.", we were expecting so much more.

 

[Rain]

Say, Rich, how long are you going to avoid my question?

 

[Dome Vongvises]

Yippee, it's another Rich Malloy vs. Rain debate!!!
Man I love their arguments in A.I.. I got my popcorn ready already.

Seriously, I have a more substantial post coming up with points/counterpoints to everything said so far.