Š-DR-LES SENTIERS DE LA PERDITION de Sam Mendes (2002) fin

25/06/2014 11:15 par tellurikwaves

Distinctions

Nominations
Oscars 2003 : Meilleur acteur dans un second rôle pour Paul Newman
Meilleure direction artistique pour Dennis Gassner et Nancy Haigh
Meilleure musique de film pour Thomas Newman
Meilleur mixage de son pour Scott Millan, Bob Beemer et John Pritchett
Meilleur montage de son pour Scott A. Hecker

BAFTA Awards 2003 : Meilleur acteur dans un second rôle pour Paul Newman
Prix Edgar-Allan-Poe 2003 : Meilleur film
Empire Awards 2003 : Meilleur acteur pour Tom Hanks
Meilleur acteur pour Jude Law
Meilleur film

Satellite Awards 2003 : Meilleur film dramatique
Meilleur acteur dans un film dramatique pour Tom Hanks
Meilleur second rôle masculin dans un film dramatique pour Paul Newman
Meilleurs costumes pour Albert Wolsky
Meilleurs effets spéciaux

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25/06/2014 11:08 par tellurikwaves

Š-DR-LES SENTIERS DE LA PERDITION de Sam Mendes (2002) p29

25/06/2014 11:05 par tellurikwaves

One of the greatest movies of all time
10/10
Author: tutzauer from Buffalo, NY
23 July 2002

*** This review may contain spoilers ***

Having been driven out of the house and into the theater by the sweltering heat, I could not have been more pleased.

The Road to Perdition, directed by Sam Mendes (American Beauty), is destined to become one of the greatest movies of all time. Perhaps I'm just getting old; perhaps I've just seen the same themes recycled time and again. But this movie is indeed different.

The story opens with young Michael Sullivan Jr. facing out to the sea, contemplating the duality of his father's legacy -- one of the best men to ever live, one of the most evil. This duality snakes its way throughout the movie. The story revolves around crime boss John Rooney (Paul Newman) and Michael Sullivan (Tom Hanks), the young man Rooney once took in and who now serves as his personal "Angel of Death." Rooney is tied by blood to his own son, but tied by love and loyalty to Michael.

Young Michael Jr., intrigued by the stories he reads, steals away in his father's car one night while Dad goes off to "work" with Connor Rooney, heir to the family "business." Connor lets the situation get out of hand, and what was meant only to be a warning turns into murder -- witnessed by Michael Jr. Upon the discovery that young Michael has seen what he should not have seen, the plot is set in motion as conflicting loyalties collide. Soon, Michael Sr. is on the run with his young son, pursued by contract killer Harlen "The Reporter" Maguire (Jude Law).

I will disclose no further details(ouais S.V.P!!) in order to avoid any potential spoilers. However, I strongly encourage viewers to examine the many dualities that present themselves in the movie: Problems between sons and fathers (Michael Sr & Jr., John Rooney & son Connor), between the world at home and the world at "work", between good and evil, between those who pretend to be men of god and those who really are, between "clean" money and "dirty", between the town of Perdition and Perdition as hell.

And along the way, savor the visual brilliance of cinematographer Conrad L. Hall (9 nominations, 2 oscars for best cinematography): rain pouring off fedoras, shots through mirrors (especially on swinging doors), tommy-gun flashes from out of the shadows, absent any sound. Not only has 75-year-old Hall given us perhaps the best cinematic product of his career, but 77-year-old Paul Newman offers one of his best performances ever.

Yes ... I may be getting old. But I've seen a lot ... and this is fresh and invigorating. The Road to Perdition presents a lasting and loving tribute to the gangster genre, to films of the 40s, to dark comic-book figures lurking in the darkness, to villains and heroes, to American film in general. Go see it!
 

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25/06/2014 10:59 par tellurikwaves

Great Performances Paper Over Any Minor Flaws
8/10
Author: Theo Robertson from Isle Of Bute, Scotland
29 November 2005

ROAD TO PERDITION can be summed up by Thomas Newman's score . It's haunting and beautiful but you're aware that this music is similar to Newman's other work and while listening to the soundtrack you're reminded of SCENT OF A WOMAN , MEETING JOE BLACK and THE SHAWSHANK REDEMPTION you're reminded of other films as the story unfolds on screen .

As the Sullivans drive round America trying to escape from a psychotic hit man you think of THE GETAWAY , Irish gangsters is MILLER'S CROSSING whilst the subtext of guilt and redemption can be summed up by Coppola and Leone's gangster epics. Despite having a seen it all before feel this shouldn't be taken as a heavy criticism of Sam Mendes film which I repeat is haunting and beautiful and the only flaws that work against it is a very slow opening twenty minutes and I was slightly confused as the events that caused Michael Sullivan to be betrayed .

But if you stop to consider how much of a sentimental mess Spielberg might have made with the story that revolves around a father and his twelve year old son running for their lives you can't help thinking what a superb director Mendes is ROAD TO PERDITION is a film where the entire cast give flawless performances . I've never been all that keen on Tom Hanks but he's every bit as good here as he has been in any starring role,probably better.

Paul Newman plays a character with an Irish accent but at no point did I believe I was watching an American screen legend putting on a false accent - Newman's performance works due to the subtle body language , his character is torn up by guilt but Newman never milks it or goes over the top.While never upstaging Newman who gives the best perfor-mance in the movie the two Brit supporting actors Craig and Law are also very memorable as American gangsters and while Law will still have a long career as a leading actor one wonders how Daniel Craig might have progressed as a character actor if he hadn't decided to become James Bond , a role which heralds the end of an actors career

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25/06/2014 10:51 par tellurikwaves

Great Film!
9/10
Author: gottogorunning from United States
9 August 2005

*** This review may contain spoilers ***

Frankly, this movie has gone over the heads of most of its detractors.

The opposite of perdition (being lost) is salvation (being saved) and this movie is one of a very few to deal with those two concepts. The movie also explores the love and disappoint- ments that attend the father-son relationship. It should be noted at the outset that none of these are currently fashionable themes.

The premise is that the fathers in the move, hit-man Michael Sullivan (Tom Hanks) and his crime boss John Rooney (Paul Newman), love their sons and will do anything to protect them. But Rooney's son Connor is even more evil than the rest. He kills one of Rooney's loyal soldiers to cover up his own stealing from his father. When Connor learns that Sullivan's son Michael witnessed it, he mistakenly kills Sullivan's other son (and Sullivan's wife) in an attempt to silence witnesses.

Sullivan decides he wants revenge at any price, even at the terribly high price of perdition. Rooney, who in one scene curses the day Connor was born, refuses to give up his son Connor to Sullivan, and hires a contract killer named Maguire (Jude Law) to kill Sullivan and his son. So Rooney joins his son Connor on the Road to Perdition. For the rest of the movie, accompanied by his surviving son young Michael, Sullivan pursues Connor Rooney down the Road to Perdition, and Maguire pursues Sullivan.

When Sullivan confronts Rooney in a Church basement, and demands that he give up Connor because Connor murdered his family, Rooney says - "Michael, there are only murderers in this room,.., and there's only one guarantee, none of us will see Heaven." As the movie ends, somewhat predictably, one character is saved and one character repents.

I'm not a big Tom Hanks fan, but he does step out of character to play hit-man Sullivan convincingly, giving a subtle and laconic performance. Newman does well as the old Irish gangster Rooney, showing a hard edge in his face and manner, his eyes haunted by Connor's misdeeds. Jude Law plays Maguire in a suitably creepy way. Tyler Hoechlin plays Young Michael naturally and without affectation.

The cinematography constantly played light off from darkness, echoing the themes of salvation and perdition. The camera drew from a palette of greens and greys. The greys belonged to the fathers and the urban landscapes of Depression era Illinois. The greens belonged to the younger sons and that State's rural flatlands. Thomas Newman's lush, sonorous and haunting music had faint Irish overtones and was played out in Copland-like arrangements.

The sets were authentic mid-Western urban - factories, churches. The homes shone with gleaming woodwork. The excellence of the movie lies in its generation of a unique feeling out of its profound themes, distinctive acting, and enveloping music and cinematography. The only negative was a slight anti-gun message slipped into the screenplay y, the movie's only nod to political correctness. I give this movie a10 out of 10; in time it will be acknowledged as a great film.

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25/06/2014 10:45 par tellurikwaves

Road to Perdition

Author: John DeSando (jdesando@columbus.rr.com) from Columbus, Ohio
9 July 2002

`Road to Perdition' is a rocky road of revenge and reconciliation, punctuated by some gorgeous Conrad Hall cinematography. Tom Hanks is a 1930's mob hit man whose 12 year-old son sees him commit a murder. The rest of Director Sam Mendes' (`American Beauty') film is the boy's coming to terms with that knowledge. Paul Newman plays a `godfather,' a father to his errant son and like a father to Hanks.

Laced throughout are 3 father-son relationships, which seem to move toward the violent ends reserved for mobsters. Hanks' son is ambivalent about his dad, whom he seems to adore yet hold accountable for his crimes. Newman's son is like Sonny Corleone, too loose to be in charge and no heir apparent; Hanks owes his lifestyle to Newman-all these relationships are subsumed by the business needs of the larger organization.

This is noir with a dark palette, costuming in clothes metaphorically heavy, and sounding often as stylized and minimal as the murders Hanks commits. `Road to Perdition' lacks the grandeur of Coppola's `Godfather' epic,(!!?? PAS d'accord) but it succeeds in evoking an old-testament judicial system where eye meets eye and tooth savages tooth. The revenge motif is too dominant to let the film rest on the promising father-son motif.

Hanks' son learns about morality and decides about following in his father's footsteps. Hanks gives another controlled performance, and Paul Newman lets us know there is room for one more powerful screen godfather.

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25/06/2014 10:38 par tellurikwaves

Sometimes familiar, but always good
9/10
Author: rbverhoef (rbverhoef@hotmail.com) from The Hague, Netherlands
23 August 2004

*** This review may contain spoilers ***

This is one of the best made movies from 2002. Maybe it is not the best movie, but it looks the best, has great acting and is directed perfectly by Sam Mendes, who debuted with 'American Beauty'.

It tells the story of a gangster named Michael Sullivan (Tom Hanks) who is seen by his son (Tyler Hoechlin) on one of his jobs. Michael's boss, John Rooney (Paul Newman), thinks things will be okay but his jealous son Connor Rooney (Daniel Craig) sets both his father and Michael up, leading to the death of Michael's wife (Jennifer Jason Leigh) and second son. Michael thinks Rooney is responsible and Rooney has to choose for himself and sends a hit-man Harlen Maguire (Jude Law) to finish the job.

Since Michael is a respected man within the organization he tries to win some friends who can help him including mob boss Frank Nitti (Stanley Tucci). In a way 'Road to Perdition' is a standard gangster movie but it is so well made you almost can not see that. This movie is good in its production design,art direction,sound,music and most of all in its cinematography All these elements are able to surprise and create suspense although the outcome is pretty certain.

That Hoechlin is not a annoying kid and Hanks, Law and Newman know how to act helps, of course. Based on a comic this movie is so much better than you would expect and although it has it flaws it belongs to the better movies in the genre. Sometimes there are events where you realize you have seen it so many times before, but for some reason it also feels fresh at the same time.  The scenes between the adult Hanks and the child Hoechlin help in that area. See this movie that will look familiar at times but is totally new on a lot of areas.

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25/06/2014 10:13 par tellurikwaves

Tyler Hoechlin  : Michael Sullivan Jr.

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25/06/2014 10:11 par tellurikwaves

A Rolls-Royce Movie
7/10
Author: MICHAEL O'FARRELL (mpofarrell) from Albany, NY
13 July 2002

I f you thought Sam Mendes' first film, the much heralded American BEAUTY was a movie with style to spare,wait until you see his highly anticipated second effort,the unrelentingly grim 30's gangster melodrama ROAD TO PERDITION. Some critics have hailed this new movie as a worthy successor to THE GODFATHER, a rash judgment made by several reviewers taken with Mr. Mendes' extraordinary technical prowess.

If the mechanics of movie making are what make a picture great , then yes , ROAD TO PERDITION is a distant cousin to THE GODFATHER in terms of what it achieves in cinematography, editing, music scoring and sound. What it doesn't have is a resonance that all great stories and some very rare movies have that stay with the viewer long after the experience of reading or seeing it is over.

As with American BEAUTY, there is a cold, distancing feel to this movie, despite some very tense scenes involving paternal love, loyalty and betrayal. This story of a hit man (Tom Hanks) and his relationship to a surrogate father - figure who is also his boss, an elderly Irish mob leader (Paul Newman) , seems to have been culled from innumerable gangster movies of years past.

The father /son motif that hangs over this picture is so heavy handed in its treatment that there is not much room for spontaneity ; the entire enterprise has been very carefully wrought , and nearly all the dialog is delivered with an air of great portent : this is obviously a gangster film , hence the requisite amount of violence and bloodshed , but the film is nearly devoid of any humor to speak of ; only in scenes involving a young boy driving a getaway car in a cunningly edited montage is there any sense of lightheartedness to leaven the pervasive sense of doom.

That being said , I have nothing but the highest praise for the stunning look of this film ; indeed,it is not an overstatement to say that this is one of the most beautifully photographed and designed movies I have ever seen. Veteran cameraman Conrad Hall will very likely win another Oscar for his work here . The production 's sets and costumes are just as exemplary ; in fact , the entire film is a technical marvel. Mr. Mendes continues to astonish with his vivid use of color, and he and Mr. Hall again make very dramatic use of red blood splattered against pale colored walls , all the more effective and disconcerting due to the preponderance of blacks, blues and grays that dominate the movie's color scheme.

If I have failed to duly note the acting , it is not because the actors do not purport themselves ably ; everyone in the film is top notch, with special mention going to the two malevolent bad guys : Daniel Craig is the classic "man you love to hate", the spoiled, impulsive son of Newman's gangster father ; and an almost unrecognizable Jude Law as an especially slimy miscreant who goes on pursuit of Hanks and his son and figures very importantly in the film's riveting second half. But acting in a movie this dazzling is bound to take a back seat to the photographic fireworks on display here. If a Rolls-Royce was a movie , I've no doubt it would look like ROAD TO PERDITION.

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25/06/2014 10:03 par tellurikwaves