Revolutionary Road tells the story of April and Frank, a middle-class suburban couple who are dissatisfied with the uniformity and monotony of their everyday lives, in which they are comfortably off and on the surface embody the American Dream, an affluent family living in Suburban Conneticut. April aspires to leave behind the suburbs and start a new life in Paris, taking her family with her. She, especially, is unfulfilled by her life in suburbia, and feels that a move to Paris will give her the urban vibe she so desperatley craves, and will get her away from what she sees as a cultural wasteland. However, Frank, although at first dissatisfied with his office job, is offered a promotion and feels compelled to stay. this shows how the capatilist structure entraps people into a cycle of monotony that is manifested in Suburbia. This is also shown through the attitudes of their neighbours who disapprove of their idea and find it absurd, and question why anybody would want to change from the suburban lifestyle.
http://www.hollywoodreporter.com/hr/film-reviews/film-review-revolutionary-road-1003897431.story
This reveiw lambasts the film as "a didactic, emotionally overblown critique of the soulless suburbs". It does take into account that the suburbs are anomic and culturally vapid, and deals with the question that neither can be satisfied there, arguing claiming that both April and Frank are equally as bad as each other- "But Frank hasn't calculated on a stubbornness and selfishness in April worse even than his own."
The review ultimatley is negative of the film, drawing similarities between Titanic and American Beauty, Mendes' previous work
Monday, 26 April 2010
Revolutionary Road
In the film adaptation Revolutionary Road the representation of fulfilment seems to be an unattainable goal for both Frank and April. Throughout the movie some areas of their life would seemingly be fulfilled, such as their own house, a steady well paid job, two children, something which would fit into a description of the American Dream. However the combination of both individuals need for arguably further fulfillment causes their problems and eventual dislike for each other, almost blaming each other for the lack of an unquantifiable desire for an undefined object. April begins by trying her hand at acting which fails in an attempt to rid herself of the monotony of the life of a housewife. One specific aspect of her character suggesting she has no idea what she wants is that she never wants to "talk things out" with Frank, this is because she wouldn't know what direction she is arguing in, not knowing what she feels about certain situations. She sleeps with Shep and immediately wants nothing to do with him similarly to Frank with the receptionist, the irony is that two people so similar, in the way neither know what they want both acting out in similar fashions don't talk frankly about it to each other as they may have found the fulfilment they were looking for here.
Link to a review of Revolutionary Road: http://www.independent.co.uk/arts-entertainment/films/reviews/revolutionary-road-15-1520128.html
This review tends to focus on a comparison between the novel and the movie at some points but does provide some interesting points with relation to the literature. It comments on how the male and female roles are some what inverted at some points something which may contain an insight as a reason for why the couple is so dysfunctional. There is also comments on how the characters are difficult to understand and their representation complex which can make this message difficult to understand, this being attributed to the direction Sam Mendes although this may be a desire of the writer, a struggle for the reader as it is for the characters?
Link to a review of Revolutionary Road: http://www.independent.co.uk/arts-entertainment/films/reviews/revolutionary-road-15-1520128.html
This review tends to focus on a comparison between the novel and the movie at some points but does provide some interesting points with relation to the literature. It comments on how the male and female roles are some what inverted at some points something which may contain an insight as a reason for why the couple is so dysfunctional. There is also comments on how the characters are difficult to understand and their representation complex which can make this message difficult to understand, this being attributed to the direction Sam Mendes although this may be a desire of the writer, a struggle for the reader as it is for the characters?
Revolutionary Road
http://www.variety.com/review/VE1117939047.html?categoryid=3266&cs=1
It is clear that in Revolutionary Road, the Wheelers find their sub-urban life too typical and mundane. Both April and Frank Wheeler had a very different vision of their lives in the beginning and felt that they had not achieved their original goals. April aspired to be an actress which she thought would provide a life which was unpredictable and exciting. Frank's dreams involved travel, and doing something which was intellectually stimulating and ultimately different to the life his father had. They were both left unfulfilled by the domestication of their lives i.e. marriage, children, big house, Frank working a typical 9-5 job and April being a housewife. And this is where they locate the downfall of their lives. This idea is interesting as is an opposite view of the typical American Dream and goes against typical American Values. They consider this life "hopeless" and Paris is where they see their dreams being fulfilled.
I thought that the main message of the film was that these two characters are blaming everything around them for their own personal failures. Even though they have what is seemingly the perfect American life, they want more for themselves which is clearly a middle class point of view as they feel that they have the choice to decide what their life involves. If they really wanted to they could have had their life in Paris, but it is Frank’s fear that holds them back, Frank differs to April as he is seemingly content with the family life and his job where as April is not. I read a review of the film from Variety and it picks up on several crucial plot themes and how this relates to ideas of work and class. The film portrays the downside of suburban life and how as nice something looks on the outside there is a darker depth on the inside (much related to Mendes’ other film American Beauty) But where Rev Road differs from American Beauty is that both the characters actually admit that their lives are empty. It is all based around these views of working for enjoyment rather than money.
Many elements of the film are notable such as the insane character, who is the only other person in the film who agrees with The Wheeler’s and as the Wheeler’s realise does this make them also insane? I would suggest that the film is about conforming to typical American Values and that the characters are both scared of losing the security of family life, and Frank’s job as they would feel at a loss. But in turn they also feel at a loss for staying and so becomes a situation that cannot be helped.
It is clear that in Revolutionary Road, the Wheelers find their sub-urban life too typical and mundane. Both April and Frank Wheeler had a very different vision of their lives in the beginning and felt that they had not achieved their original goals. April aspired to be an actress which she thought would provide a life which was unpredictable and exciting. Frank's dreams involved travel, and doing something which was intellectually stimulating and ultimately different to the life his father had. They were both left unfulfilled by the domestication of their lives i.e. marriage, children, big house, Frank working a typical 9-5 job and April being a housewife. And this is where they locate the downfall of their lives. This idea is interesting as is an opposite view of the typical American Dream and goes against typical American Values. They consider this life "hopeless" and Paris is where they see their dreams being fulfilled.
I thought that the main message of the film was that these two characters are blaming everything around them for their own personal failures. Even though they have what is seemingly the perfect American life, they want more for themselves which is clearly a middle class point of view as they feel that they have the choice to decide what their life involves. If they really wanted to they could have had their life in Paris, but it is Frank’s fear that holds them back, Frank differs to April as he is seemingly content with the family life and his job where as April is not. I read a review of the film from Variety and it picks up on several crucial plot themes and how this relates to ideas of work and class. The film portrays the downside of suburban life and how as nice something looks on the outside there is a darker depth on the inside (much related to Mendes’ other film American Beauty) But where Rev Road differs from American Beauty is that both the characters actually admit that their lives are empty. It is all based around these views of working for enjoyment rather than money.
Many elements of the film are notable such as the insane character, who is the only other person in the film who agrees with The Wheeler’s and as the Wheeler’s realise does this make them also insane? I would suggest that the film is about conforming to typical American Values and that the characters are both scared of losing the security of family life, and Frank’s job as they would feel at a loss. But in turn they also feel at a loss for staying and so becomes a situation that cannot be helped.
From Jo's and Christine's posts to the Yates Interview
Two excellent reviews, from the New Yorker and the Guardian. It is significant that as you both point out, they see Revolutionary Road as dramatising contemporary issues: Friedan's 'problem without a name,' and the sense of despair at the apparent success of the US in the 1950s (Eisenhower smugness; the suburbs). Behind both of these, I would suggest, is a still-relevant sense of the wider inabililty of capitalism to deliver the fulfilment that it promises. It is significant also, again as you both point out, that the reviews position the film as dealing with these wider issues tangentially; suggesting that its dynamic derives instead from the pecularities of the relationship between the central couple. Christine notes how Denby foregrounds April's 'neuroses' as sufficient explanation for the film narrative and emphasises the 'theatricality' of Mendes' approach as a director; Jo similarly echoes French's sense that the opening revelation that the couple 'hate each other' drives the narrative. In which case, any commentary on the wider issues would be beside the point.
This question is very similar to that dealt with by Richard Yates in the interview, which pivots exactly on insisting what is 'the problem'. Yates denies that either 'the suburbs' or 'marriage' (which links to the Friedan-informed reading) is the problem - referring to the blaming of these things as the 'Wheelers' delusion.' Where do you think this leaves us? Must this short-circuit into the film's apparent emphasis on the couple's personalities and relationship? I would suggest not: and that Yates is trying to insist on two things in the interview. First as a novelist he is insisting on the specificity of his art (literature as not being reducible to sociology - see the Denby and French reviews). But at the same time, he seems to be thinking of the suburbs, and marriage, as symptoms rather than causes. Symptoms of .....capitalism; and thereby perhaps, of individuals' relationship with work.
A final thought: both blogs and reviews refer to Friedan and the beginnings of second-wave feminism, which the book immediately pre-dates, and the film, arguably, post-dates. It is worth thinking through these relationships by reference to work: How far are the couple's problems circumscribed by the gendering of work?
This question is very similar to that dealt with by Richard Yates in the interview, which pivots exactly on insisting what is 'the problem'. Yates denies that either 'the suburbs' or 'marriage' (which links to the Friedan-informed reading) is the problem - referring to the blaming of these things as the 'Wheelers' delusion.' Where do you think this leaves us? Must this short-circuit into the film's apparent emphasis on the couple's personalities and relationship? I would suggest not: and that Yates is trying to insist on two things in the interview. First as a novelist he is insisting on the specificity of his art (literature as not being reducible to sociology - see the Denby and French reviews). But at the same time, he seems to be thinking of the suburbs, and marriage, as symptoms rather than causes. Symptoms of .....capitalism; and thereby perhaps, of individuals' relationship with work.
A final thought: both blogs and reviews refer to Friedan and the beginnings of second-wave feminism, which the book immediately pre-dates, and the film, arguably, post-dates. It is worth thinking through these relationships by reference to work: How far are the couple's problems circumscribed by the gendering of work?
Sunday, 25 April 2010
Review of Revolutionary Road
Revolutionary Road
The film adaptation of Revolutionary Road, which was originally published as a novel in 1961 explores the themes of fulfilment, and the American Dream in a suburban, mid 1950s backdrop. Prior to the 1960s women’s right movement, the 1950s era for women remained to be a struggle, with “the problem that has no name” as described by Betty Friedman in The Feminine Mystique. The Wheelers’ problems as depicted by this film, are largely manifested by April’s unhappiness who encounters this problem and stimulates a plan to move away from what they feel is the ‘suburban trap’ and lead a more happier life in Paris. There she plans to let Frank stay at home or do whatever he feels, whilst she works to maintain the family income, suggesting how bored she feels in becoming stuck in her role as ‘housewife’ and yearns for a change. It is mostly through April, in my interpretation that the Wheelers’ hold such contempt through their marital problems and lifestyle, as she clearly is not happy with her current role and feels trapped by it. This is further reflected through the change of mind by Frank. Whilst Frank shows dissatisfaction with his job, he becomes more than content with the idea to stay in America when he is offered a promotion at his job, thus illustrating that his dissatisfaction with life is based upon his lack of success he had previously. By following the footsteps of his father who also worked at Knox and never managed to progress up the career ladder, he embodies the positive aspect of the American Dream, whereby through his success he becomes a lot more happier.
The problems encountered by April, and the reason put forth by Frank why they cannot move to Paris is surfaced around April’s conception of their third child, which she strives to terminate in the chances to continue her dream for Paris. During their argument it becomes suggested that April’s unhappiness has been long running, signifying that they had their second child to prove that the first was not a mistake. April exemplifies the feelings of women in America during this era of not feeling fulfilled being a housewife and looks for excitement in relocating to Paris.
The website I have chosen is from the New Yorker: http://www.newyorker.com/arts/critics/cinema/2008/12/22/081222crci_cinema_denby. It is quite a lengthy review that sums up the Wheelers’ problems rather well as, “in revolt against the suburbs, against conformity, against playing it safe, [in] believ[ing] that they are marked for some extraordinary destiny. Somehow, they will escape.”
The writer David Denby, additionally illustrates a feminist consciousness within the text as he notes the comparison between Betty Friedman’s book (being published two years after the original novel was released), and the frustrations that the character April encounters. Conversely however, he cites April feeling isolated due to her neuroses and not an issue due to her boredom as a housewife.
The film adaptation of Revolutionary Road, which was originally published as a novel in 1961 explores the themes of fulfilment, and the American Dream in a suburban, mid 1950s backdrop. Prior to the 1960s women’s right movement, the 1950s era for women remained to be a struggle, with “the problem that has no name” as described by Betty Friedman in The Feminine Mystique. The Wheelers’ problems as depicted by this film, are largely manifested by April’s unhappiness who encounters this problem and stimulates a plan to move away from what they feel is the ‘suburban trap’ and lead a more happier life in Paris. There she plans to let Frank stay at home or do whatever he feels, whilst she works to maintain the family income, suggesting how bored she feels in becoming stuck in her role as ‘housewife’ and yearns for a change. It is mostly through April, in my interpretation that the Wheelers’ hold such contempt through their marital problems and lifestyle, as she clearly is not happy with her current role and feels trapped by it. This is further reflected through the change of mind by Frank. Whilst Frank shows dissatisfaction with his job, he becomes more than content with the idea to stay in America when he is offered a promotion at his job, thus illustrating that his dissatisfaction with life is based upon his lack of success he had previously. By following the footsteps of his father who also worked at Knox and never managed to progress up the career ladder, he embodies the positive aspect of the American Dream, whereby through his success he becomes a lot more happier.
The problems encountered by April, and the reason put forth by Frank why they cannot move to Paris is surfaced around April’s conception of their third child, which she strives to terminate in the chances to continue her dream for Paris. During their argument it becomes suggested that April’s unhappiness has been long running, signifying that they had their second child to prove that the first was not a mistake. April exemplifies the feelings of women in America during this era of not feeling fulfilled being a housewife and looks for excitement in relocating to Paris.
The website I have chosen is from the New Yorker: http://www.newyorker.com/arts/critics/cinema/2008/12/22/081222crci_cinema_denby. It is quite a lengthy review that sums up the Wheelers’ problems rather well as, “in revolt against the suburbs, against conformity, against playing it safe, [in] believ[ing] that they are marked for some extraordinary destiny. Somehow, they will escape.”
The writer David Denby, additionally illustrates a feminist consciousness within the text as he notes the comparison between Betty Friedman’s book (being published two years after the original novel was released), and the frustrations that the character April encounters. Conversely however, he cites April feeling isolated due to her neuroses and not an issue due to her boredom as a housewife.
Thursday, 22 April 2010
Revolutionary Road
Is there some misnomer/irony in the title? - A picture of comfortable 1950s middle class suburbia called 'revolutionary' road? A good phrase to sum up the Wheelers suburban nightmare is one of them says "We bought into the same delusion." They have each other and children and a comfortable lifestyle and no apparent money worries and yet are desperate for fulfillment. April harboured ideas of being an actress but, as is shown, this may have been another dream of hers like the family going to live in Paris. She is obviously intelligent but is stifled in domesticity - putting out the garbage, doing the laundry. You even get the impression that her children were 'by accident' and because it was expected of her. Frank, meanwhile, appears bored with an office job in the same company his father worked for. They have it all and seem well liked and yet barely like each other - the only time they appear happy is when they believe in their unrealistic dream of escape. This was a period of rampant consumerism and, as today, adverts selling a middle calss suburban dream, but as the Wheelers discovered, it was just an illusion/delusion. Within themselves and the bigger suburban dream sold to them they believe that their middle classness can free them - why not move to Europe? - Until friends and neighbours question why they are going, how April will magically acquire a good scretarial job and Frank will 'think of something.' One of the neighbours calls the idea "immature."
The link I have chosen is from The Observer:
http://www.guardian.co.uk/film/2009/feb/01/revolutionary-road-review-winslet-dicaprio
It reiterates the 'seemingly placid, self satisfied surface' of the 1950s, when actually there was both political conformity (the McCarthy communist 'witch hunts' etc) and a social conformity after the disruption of the War years and certainly April's neurotic desparation reminded me very much of Betty Friedan's phrase "Is this all?" (The Feminine Mystique) in their clearly defined gender roles. Another thing the review highlighted was the fact that both Wheelers think they are somehow special, when in fact they are not. Some people even give them that impression but, like the marriage/twokids/white collar office job/nice suburban home/wife with glossy hair and nice frock/all mod cons, is an illusion, a lie, which is shown in the voice of conscience and truth which is the mentally ill John and at the end when 'friends' voice an opinion that they weren't the right sort of people. The truth would appear to be that is you really are special and are not a drone, then you don't live in the American 'burbs....
The link I have chosen is from The Observer:
http://www.guardian.co.uk/film/2009/feb/01/revolutionary-road-review-winslet-dicaprio
It reiterates the 'seemingly placid, self satisfied surface' of the 1950s, when actually there was both political conformity (the McCarthy communist 'witch hunts' etc) and a social conformity after the disruption of the War years and certainly April's neurotic desparation reminded me very much of Betty Friedan's phrase "Is this all?" (The Feminine Mystique) in their clearly defined gender roles. Another thing the review highlighted was the fact that both Wheelers think they are somehow special, when in fact they are not. Some people even give them that impression but, like the marriage/twokids/white collar office job/nice suburban home/wife with glossy hair and nice frock/all mod cons, is an illusion, a lie, which is shown in the voice of conscience and truth which is the mentally ill John and at the end when 'friends' voice an opinion that they weren't the right sort of people. The truth would appear to be that is you really are special and are not a drone, then you don't live in the American 'burbs....
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