The picturesque conformist view of the ideal, or "common", human life is actually quite depressing. Let's just think about this for a second: we go through childhood, youth and finish high school. Then we move onto College and University and into careers. By the age of 30 society looks down on us and says: "When are you going to settle down, get married, have kids and move into your ideal suburban home?".
This seems to the accepted norm of society: school, job, marriage, kids. And people are just seen as the pieces that match this puzzle, with each new generation leisurely stepping into take their place. "Revolutionary Road", adapted from the acclaimed novel by Richard Yates, explores these themes in depth. Set against the backdrop of a suburban neighbourhood of the 1950s, a time where conformity was never questioned and every man wore grey suits and took the train in silence to work, the film masterfully portrays a trapped couple struggling to come to terms with their place in society.
The film starts off at a College party where the young men and women mingle amid 1950s dance music, smoke and cheap liquor. It is here where Frank Wheeler (Leonardo di Caprio) meets his future wife April (Kate Winslet). They ideally discuss their lives, the future, and all the things that they want to become. Whimsically they fall in love. Before this we are taken to a play recital where Frank watches April from the crowd. The final curtain closes and the mutterings of the audience, and the expressions on Frank and April's face tells us it didn't go well. April hides backstage, ashamed to face the audience and her husband, wallowing in self-pity. Frank begrudgingly makes his way to the dressing room, conjuring up what he is going to say to mask what was an embarrassment. He tries to play the role of the doting husband, but April sees right through the facade and immediately shuns any sympathy or attention. Their marriage is strained, and life is taking it's toll. The shot of them walking down the corridor from a distance, and as it gets closer Frank edges forward creating even more distance between them, is masterfully done. Immediately we are shown this is not a happy couple, life has crushed their idealistic young spirit, and life is taking it's toll.
The Wheelers' live on Revolutionary Road in a house shown to them by Mrs Givings (Kathy Bates). Everything about their lives conforms to the ideals constricted on them by society. April is a stay-at-home mother with two children who doesn't have a job. She does housework, cooks and cleans, and entertains family guests politely and with a nice cup of tea. Frank drives his car to the train station where he takes the train to work. Dressed in a grey-suit and tie, he sits and reads the paper like all of them. Like all of them, he gets off the platform and walks to work where he does a mundane job in a mundane office environment.
The scenario is so plain and realistic it is almost painful to watch these two ordinary souls torturing themselves and making their lives a misery.
But it is April, who seems the more willing to take the leap, that makes the first step. She suggests moving to Paris as a way to start over and experience a new life where she would work as a secretary and Frank would take time to "find himself". Frank eventually agrees, and through their hope for a new beginning we see radically different people; both are invigorated, confident and willing to challenge anything and anyone. This notion challenges the accepted norms of gender roles that were clearly defined and unchallenged during this time period.
Of course, life happens when April finds out she's pregnant, and it is here where their worlds come crashing down. Frank receives a huge promotion that promises more money and prestige, and he is willing to take it to play his role as loving husband; April doesn't find acceptance to easily. The couple is challenged by John Givings (Michael Shannon), Mrs Giving's son, who readily speaks the truth openly and without thought of consequence. He is the only one that plainly tells them what they are thinking and what is happening, and as irked as they are, deep down they know he is right.
"Revolutionary Road" will no doubt draw comparisons with Mendes' earlier work in "American Beauty", but what makes this different is that whilst "American Beauty" idealizes the truth of beauty and looking deeper, "Revolutionary Road" goes to a whole new level of unraveling the unique pain and emotion of life. It goes even deeper. The acting in this film is also amazing with both Di Caprio and Winslet giving riveting performances, but it is Michael Shannon that steals the show in the short time that he is on screen. He is the window into their souls, and as he looks in it just gets blacker and blacker.
If you're expecting a happy reunion of Kate and Leo from "Titanic", or believe this is the ending it could've had, think again. "Revolutionary Road" is a dark character study that explores the depths of our souls, and only those brave enough to want to see it will find this rewarding.
