By Jason Bellamy
Hyped as the film that brings back together again Titanic stars Kate Winslet and Leonardo DiCaprio, Revolutionary Road is in danger of being remembered for a different reunion of Best Picture Oscar ingredients. It has hardly gone unnoticed, nor should it, that this adaptation of Richard Yates’ 1961 novel takes a tale of suburban depression and disenfranchisement and puts it into the hands of director Sam Mendes, whose American Beauty eviscerates the unspoken agony of Pleasantville-living. So let’s get this out of the way from the start: Revolutionary Road is no more about the suburbs than Casablanca is about a city in Morocco. Oh, sure, the setting counts. The quaint street where April and Frank Wheeler discover their malaise is as much a character in this film as is the pit of corruption, hope and shattered dreams that is Rick’s Café in Casablanca. But to conclude that Mendes’ latest film is a condemnation of suburbia is to miss the point.
Revolutionary Road is a conviction of the Wheelers. Their crime? Denial. Yes, Mendes’ film, from a screenplay by Justin Haythe, makes good on opportunities to mock suburban living, but this is mere decoration, like the tiny plants Kathy Bates’ matriarch Helen gives to Winslet’s April to fill in the “messy patch” at the end of the driveway. Suburbia doesn’t make the Wheelers miserable. Instead suburbia is the mirror by which they recognize their long-denied unhappiness. Characters turning 30, April and Frank are for the first time realizing that they have emotional wrinkles. As much as anything, Revolutionary Road is about that transitional period of life when your identity stops being about what you are “going to be” and starts being about what you “are.” When April, having pulled trashcans to the curb, stands at the end of the family driveway and looks up and down the street, she sees not just the numbing suburban homogeny of the 1950s but also a lack of opportunity. Revolutionary Road is a path to more of the same. The only way April’s life can evolve is if she forces the process.
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