I watched
Road to Perdition tonight. Wahoo! I rule!!!
At first, I was a little worried about
Tom Hanks playing hitman Michael Sullivan, Chicago’s Angel of Death. He’s a great actor, no doubt about it, but I’ve never seen him play a gunman before, or maybe he did and I just didn’t see the movie. Looking back at
Forrest Gump,
Cast Away,
Philadelphia, and most of all
BIG and
Splash, Tom Hanks has come a long way and playing a 30’s hitman must’ve been really different, not to mention cool.
The movie was beautifully done, one of the best-shot
gangster movies I’ve seen so far. It opened peacefully and quietly, and then it shifted to young Michael (
Tyler Hoechlin) delivering newspapers, he’s biking, he’s biking, and then he was biking through all these people who were walking in the opposite direction. It was a beautiful and smooth tracking shot. I loved it.
In
Ramon’s Indiefil review on
Amelie, he wrote that “
Jeunet has said that if possible, he would like every single frame of his movie worthy of framing.” I think that most filmmakers should achieve this kind of goal. When every frame is near perfect, you don’t get bored and you’re in awe of how beautifully framed the shots are, even if you’re not a film buff. And I love period films because they make you want to experience that certian period. For instance, gangster movies have this gangstah look that makes you want a bowler hat, a trench coat, and a cigarette in a poorly lit sidewalk at night.
Director
Sam Mendes made the whole movie frame-worthy. The Hitchcock shot under the flyover, Mike Sullivan (Tom Hanks) and Michael walking through the Chicago crowd of bowler hats and trench coats (don’t you just love the 30s?), Mike sitting in a hall full of businessmen reading newspapers...everything was very cinematic.
Conrad Hall, the DOP of the film, lit everything so well. I loved the shadows, the smooth camera movements, and the RAIN! God, the rain was so beautifully lit! And the natural sound was so good that every gunshot made me jump in my seat.
(NOTE: SPOILER!)
What I can’t get out of my mind is the heartbreaking scene where Mike kills all of John Rooney’s (
Paul Newman) men in the rain, and he killed them one by one. The scene was edited to music only, no natsot, and I think that that made it more intimate. Mike killed about 6 men by himself, and he was about to kill the man who practically raised him and loved him like a son. I was tearing, and when Rooney said “I’m glad it’s you,” ...BANG!, my eyes welled up some more and I sank in my chair. It was so sad. I remembered the first God Father when Santino (I think. Basta, the eldest!) was ambushed at the tollgate; but that was full of the audio of random gunshots. This one only had music and slow mo video with a very well choreographed tracking shot of each bodyguard getting shot.
I also love the shot where Michael was waiting in the hotel room, and Mike arrives after killing Connor (
Daniel Craig). That was such a quiet shot. Most of the shots were very quiet, and I think that’s what I like about the film. Quiet is always more painful to hear.
And before I forget, the acting was top notch, and
Jude Law who played hitman Maguire was such a freak! Horrible teeth, even more horrible nails, that cool trick he does with the coin, put them all together and you’ve got a psycho photographer slash assassin who has this fetish for photographing dead people in a murder scene. Oh, and his photographs were actually pretty good. They remind me of all those bloody pictures in
Pulp.
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Ramon asked me if I had read the Road to Perdition comic book, and I said, "No. Me pa?!"
Sometimes I feel bad that I didn't read much as a kid, but that's the life I chose and I think that I achieved a lot in sports. Now that I'm older and my vocabulary has improved, reading has become interesting to me. I guess it just goes to show that it's better late than never.
Now, if only I had the TIME to read...