Road to Perdition film review

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ROAD TO PERDITION

In his choice of nice guy roles, Tom Hanks has come to personify integrity, decency and an unimpeachable morality. It is testimony to his talent that he is still able to convey those indelible qualities while playing a ruthless gangland assassin in Road To Perdition. Sam Mendes, whose directorial debut with American Beauty netted him an Oscar, has proved with this absorbing and stylish follow up that he is no one-hit-wonder, but a significant and assured force.

Deliberate in its pacing, Road To Perdition builds resolutely towards its denouement, one that defies Hollywood convention but remains true to the filmmaker's courageous self-belief. Every element of Road To Perdition reflects a unified vision and a meticulous attention to detail; from the period costumes, to the muted palette of the art direction that so convincingly evokes depression-era America, to the stunning cinematography of Conrad Hall whose dimly lit sets made Tom Hanks feel like he "was stepping into a Vermeer painting."

David Self's economic script centers on a father and son thrust together by tragedy, who embark on a bloody and heart-wrenching journey across mid west America in 1931. Prior to the trip, the two were relative strangers. The 12-year-old Michael Sullivan Jr (Tyler Hoechlin) knew little about his taciturn and private father Michael (Tom Hanks) or his job as an enforcer for underworld kingpin John Rooney (Paul Newman). The shrewd Rooney, whose standing in the local community is compared to that of a god, is a patriarchal figure in the Sullivan family since taking the fatherless Michael under his wing. Rooney's biological son, Connor (Michael Craig), has always been envious of the more intimate relationship his father has shared with Sullivan. This resentment erupts in violence when he murders Sullivan's wife (Jennniefer Jason Leigh) and youngest son Peter (Liam Aiken).