Road to Perdition

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This article is about the film. For the graphic novel on which the film is based, see Road to Perdition (comics).
Road to Perdition

Theatrical poster
Directed by Sam Mendes
Produced by Sam Mendes
Dean Zanuck
Richard D. Zanuck
Written by David Self
Starring Tom Hanks
Tyler Hoechlin
Paul Newman
Jude Law
Daniel Craig
Music by Thomas Newman
Cinematography Conrad L. Hall
Editing by Jill Bilcock
Distributed by USA:
DreamWorks
non-USA:
20th Century Fox
Release date(s) July 12, 2002 (US)
September 27, 2002 (UK)
Running time 117 min.
Country United States
Language English
Budget US$80,000,000
Allmovie profile
IMDb profile

Road to Perdition is a 2002 period drama directed by Sam Mendes. The screenplay was adapted by David Self, from the graphic novel of the same name by Max Allan Collins. The film stars Tom Hanks, Paul Newman, Jude Law, Tyler Hoechlin, and Daniel Craig. Hanks stars as Michael Sullivan, an assassin who is forced to flee with his son from the crime syndicate for whom he had worked.

Filming took place in the Chicago area. Mendes, having recently finished 1999's acclaimed American Beauty, pursued a film that had minimal dialogue and conveyed emotion in the imagery. A "cold look" was created for the locations to emphasize the characters' emotional states. Cinematographer Conrad L. Hall took advantage of the lighting and the environment to create symbolism for the film, for which he won several awards. Road to Perdition explored the themes of the consequences of violence and the relationship between father and son.

The film was released on July 12, 2002, and received mostly positive reviews. The cinematography, setting, and the lead performances by Paul Newman and Tom Hanks were well-received, though the film was criticized for not creating a strong emotional attachment to its audience.

Contents

[edit] Plot

Michael Sullivan, Sr. is an enforcer to John Rooney, an Irish Mob chieftain in Illinois during the Great Depression, in the winter of 1931. Sullivan, who was orphaned as a child and subsequently raised by Rooney, has worked for the crime boss most of his life; Rooney loves Sullivan like a son, more so in fact than his own child, the psychopathic Conner.

Rooney sends Sullivan and Conner to talk to Finn McGovern, an employee, shortly after his public outburst at the death of Finn's brother. Sullivan's older son, 12-year-old Michael Jr., secretly follows the enforcers and watches as Connor impulsively kills McGovern, and his father guns down several men in the ensuing shootout. Michael Jr. is spotted, and caught by the men, but is spared after being sworn to secrecy. The murders anger Rooney, who blames and humiliates Connor, while favoring Sullivan for his decisiveness and loyalty. Connor erupts in a jealous rage, and he attempts to have Sullivan assassinated, while he personally murders Sullivan's wife, Annie and younger son, Peter. Sullivan and Michael escape the attempt on their lives and flee to Chicago.

Sullivan requests permission from Al Capone's crime syndicate to seek revenge, but when he is rejected, Sullivan and his son plan a string of robberies to steal the syndicate's laundered money. Sullivan hopes to coerce Capone into giving up Connor for the money, but Capone instead dispatches Harlen Maguire, an assassin with a macabre fetish for photographing his dying victims, to kill Sullivan and his son. Sullivan eventually tracks down Rooney's accountant, Alexander Rance, at a hotel. Maguire had anticipated this move, and bursts into the room while the accountant is stalling for time. A gunfight erupts between Sullivan and Maguire, with Rance inadvertently killed, and Maguire shot in the face, and Sullivan hit in the shoulder as he escapes in a car with his son. Michael takes his father to a farm where a childless and elderly couple helps the former enforcer recover. During his recuperation, Sullivan finds in ledgers taken from Rance showing how Connor had embezzled money from his father under the names of gang members that he had murdered.

After Sullivan recovers, he secretly meets with John Rooney during Mass and shares his discovery about Connor. Despite his son's betrayal, Rooney refuses to let him be harmed. That evening, Sullivan stages an ambush, gunning down all the members of Rooney's gang, including John Rooney himself. With the crime boss dead, Capone has no reason to continue protecting Connor, and agrees to let Sullivan exact his revenge to put the matter to rest. Sullivan freely walks into the hotel room where Connor was staying, and kills him. Apparently free from pursuit, Sullivan and his son make their way to the town of Perdition, Michigan, to the summer house of Annie Sullivan's sister. A disfigured Maguire had been lying in wait for them, and shoots Sullivan from behind, mortally wounding him. The assassin begins setting up his camera equipment, only to find himself held at gunpoint by Michael. Maguire calmly approaches the boy, coaxing him to give him the weapon, while Michael wrestles with his conscience. Sullivan is able to shoot Maguire from behind instead, sparing his son the need to get blood on his hands. Sullivan dies in his son's arms. The son mourns his father's death and finds his way to the elderly couple that had harbored them earlier, growing up with them.

[edit] Cast and characters

Rooney (Paul Newman) and Sullivan (Tom Hanks) have a surrogate father-son relationship as part of the film's father-son theme
Rooney (Paul Newman) and Sullivan (Tom Hanks) have a surrogate father-son relationship as part of the film's father-son theme[1]
  • Tom Hanks as Michael Sullivan, Sr.: A hitman who works for John Rooney. Hanks was sent a copy of the graphic novel Road to Perdition by Spielberg while he was filming Cast Away (2000). Initially too busy to make sense of the story, he later received David Self's adapted screenplay, to which he became attached. Hanks, a father to four children, described Michael Sullivan's role, "I just got this guy. If you're a man, and you've got offspring--emotionally, it's devastating." Hanks portrayed Michael Sullivan in the film as a man who spoke little dialogue, particularly to avoid breaking the sense of self-awareness.[2]
  • Tyler Hoechlin as Michael Sullivan, Jr.: The oldest son of Michael Sullivan, Sr. Hoechlin was chosen from over 2,000 candidates to portray Michael Sullivan's son.[2] The actor was 13 years old at the time of filming. For scenes in which Hoechlin's character assisted his father as a getaway driver, Hoechlin was trained to drive for several scenes by a driving instructor.[3]
  • Paul Newman as John Rooney: A crime boss who treats Sullivan as a surrogate son. Newman was unanimously the first choice for the role.[4] The actor prepared for his role by requesting Frank McCourt, the Irish-American author of Angela's Ashes, to record a tape of himself speaking.[2]
  • Jude Law as Harlen Maguire: A crime scene photographer who moonlights as an assassin. Screenwriter David Self, who created the character of Harlen Maguire that did not exist in the graphic novel, explained, "He gets so jaded from exposure to this world, he steps over the line from being the storyteller to being the story maker."[5] To capture the "seedy countenance" of the character, Law was given a sallow skin tone and beat-up hands that reflected the wear from working in a darkroom. Law's teeth also received a lower gumline and had the look of rotten teeth.[3] Law's character carried a camera that served as dual symbolism to his acts of murder. The character's apartment also displayed a collection of favorite photographs, some of which were actual police stills from the 1930s to illustrate the historic and authentic nature of crime in the decade.[1]
  • Daniel Craig as Connor Rooney: The son of John Rooney. He is jealous of the surrogate relationship between his father and Michael Sullivan, Sr.
  • Stanley Tucci as Frank Nitti: A lieutenant under Al Capone. Tucci had previously avoided roles in gangster films, believing that Hollywood stereotyped all Italian-Americans as gangsters. The actor, attracted to the prospect of working with Mendes and his crew, changed his mind and accepted the role of Nitti, a real-life Mob boss from Chicago.[6]
  • Jennifer Jason Leigh as Annie Sullivan: The wife of Michael Sullivan, Sr. Leigh was a friend of Sam Mendes and portrayed the role as a favor to the director. Leigh had more scenes as Annie Sullivan than the film showed, but due to time constraints, the scenes were cut. Scenes with her were subsequently placed on the film's DVD.[7]
  • Liam Aiken as Peter Sullivan: The youngest son of Michael Sullivan, Sr.
  • Dylan Baker as Alexander Rance: An accountant who holds the ledgers for the Rooney crime syndicate.
  • Ciarán Hinds as Finn McGovern: The mark assigned by Sullivan and Connor Rooney, whose death is witnessed by Sullivan's son.
  • Anthony LaPaglia as Al Capone: The notorious crime boss. The character was filmed in a scene, but the scene was omitted from the final cut,[8] and can be found in the DVD's deleted scenes.[9] Actor Alfred Molina was approached to portray Capone, but Molina was forced to turn the role down due to scheduling conflicts with Frida (2002). Instead, LaPaglia was cast as Capone.[10]

[edit] Production

When the graphic novel Road to Perdition was written by Max Allan Collins, his agent saw potential in the story as a film adaptation and showed it to a film agent.[11] By 1999, the novel reached Dean Zanuck, who was the vice president of development at the company of his father, producer Richard D. Zanuck. The novel was sent to the elder Zanuck in Morocco, who was there producing Rules of Engagement (2000). The Zanucks agreed on the story's prospect and sent it to director-producer Steven Spielberg. Shortly afterward, Spielberg set up the project at his studio DreamWorks, though he did not pursue direction of the film due to his full slate.[2]

Mendes sought a new project after completing American Beauty (1999) and explored prospects including A Beautiful Mind, K-PAX, The Shipping News,[4] and The Lookout. DreamWorks sent Mendes Road to Perdition as a prospect. Mendes was attracted to the story, considering it "narratively very simple, but thematically very complex".[2] One theme that he saw in the story was of the parents' world that is inaccessible to their children. Mendes considered the story's theme to be about how children deal with violence, and whether exposure to violence would render children violent themselves. Mendes described the script as having "no moral absolutes", a factor that appealed to the director.[12]

[edit] Writing

When Spielberg set up Road to Perdition at DreamWorks, he contacted screenwriter David Self to adapt the graphic novel Road to Perdition by Max Allan Collins into a feature film.[2] Self wrote an initial draft that remained close to the source material and retained most of its dialogue. The screenplay was rewritten by uncredited writers, distancing the script from the graphic novel and leaving the core elements of the story.[11] Mendes, who described the graphic novel as "much more pulpy", sought to reduce the graphic novel's background to its essence, seeking the "nonverbal simplicity" of films like Once Upon a Time in America (1984), Pat Garrett and Billy the Kid (1973),[2] and films by Akira Kurosawa that lacked dialogue.[7] Duplicate language in characters' confrontations in Road to Perdition was trimmed to the absolute minimum.[13] Mendes described Road to Perdition as a "poetic, elegiac story, in which the pictures tell the story".[4] An unspoken scene in the film was the piano duet with Hanks and Newman's characters, intended to convey their relationship without words.[13] In the final 20 minutes of Road to Perdition, the script was written to have only six lines of dialogue.[4]

Hanks and cinematographer Conrad Hall, who abhorred violence, requested to Mendes that violence in the film would be meaningful and not gratuitous. The violence of early drafts was minimized as the script became more streamlined.[2] Hanks's character, Michael Sullivan, was known as "The Angel" in the graphic novel and invoked fear in those around him, but his infamy is downplayed in the film.[12] In the novel, he is also an alcoholic, an element which was removed in the adaptation.[2] An addition made to the script was one of the film's antagonists, portrayed by Jude Law, to provide a chase element to the Sullivans' departure from the old world.[11]

The author of Perdition graphic novel, Max Allan Collins, originally desired to write the adapted screenplay for the feature film, but was not given the opportunity.[11] He chose to stay out of the scripting process in respect to the different style of writing for a different medium, though he served a consultant in the process. Collins praised the addition of Law's character and considered the minimalist use of dialogue to be appropriate.[14] The author also applauded the film's version of Rooney as "more overtly a father figure" to Sullivan.[11] The author opposed the reduction of profanity in the script, believing that the vulgar language was appropriate for the era.[14] He also contested the path of Sullivan's son in the film. In the graphic novel, the son kills once, and in the film, he does not kill anyone. Collins also disagreed with the narration technique of the film. In the novel, the son narrates the story as an adult, becoming a priest, while in the film, he narrates while still a young boy.[15]

[edit] Filming

Prior to filming, Mendes sought to produce a period film that would avoid clichés in the gangster genre. He chose to film Road to Perdition on location in downtown Chicago and the nearby town of Pullman. The Armory, the state's largest location mainstay which houses the Illinois State National Guard, was provided to the studio by the Illinois State Film Commission. Sets were built inside the Armory, including interiors of the Sullivan family's home and the Rooney mansion. The availability of an inside location provided the crew complete control over the lighting environment, which was established with the rigging of scaffoldings.[16]

"Atmospherically, the landscape is a violent and magnificent canvas on which is told a mythic story of a father and son in the last period of lawlessness in American history."
— Sam Mendes[16]

Mendes collaborated with costume designer Albert Wolsky, production designer Dennis Gassner, and cinematographer Conrad Hall to design the film's style. Wolsky designed costumes that were "very controlled, with soft outlines and very soft silhouettes". Gassner built sets that could capture the cold look of the era. Mendes sought a muted palette for the film, having dark backgrounds and sets with dark, muted greens and grays. Mendes filmed Road to Perdition using the Super 35 format.[16]

The director filmed exterior scenes in Illinois in the winter and the spring of 2001, using real weather conditions such as snow, rain, and mud for the scenes. Mendes considered the usage of bleak weather conditions and the intended coldness of Gassner's exterior locations to define the characters' emotional states. Pullman became a key location to reflect this theme, having several settings, including the town's historic Florence Hotel, easily redressed by the crew for the film.[16] Filming concluded in June 2001.[2]

A small part of the movie was filmed in Peotone, Illinois as well.

[edit] Cinematography

Cinematographer Conrad L. Hall set up atmospheric lighting similar to that found in the paintings of Edward Hopper
Cinematographer Conrad L. Hall set up atmospheric lighting similar to that found in the paintings of Edward Hopper

To establish the lighting of scenes in Road to Perdition, Mendes drew from the paintings of Edward Hopper as a source of inspiration, particularly Hopper's New York Movie (1939). Mendes and cinematographer Conrad Hall sought to convey similar atmospheric lighting for the film's scenes, applying a "less is more" mantra.[17] Hall also shot wide open scenes that retained one point in the depth of field sharply focused. Hall considered the technique to provide an emotional dimension to the scenes. The cinematographer also used unconventional techniques and materials to create unique lighting effects. One of Hall's methods was to use black silk in daylight exterior scenes to filter the light enough to create an in-shade look.[16]

Hall purposely distanced the camera from Hanks' character, Michael Sullivan, at the beginning of the film to establish the perspective of Sullivan's son, who is unaware of his father's true nature.[2] Hanks's character was filmed as partially obscured and seen through doorways, and his entrances and exits took place in shadows. A wide lens was used to maintain a distance from the character.[16]

Shots in the film were drawn directly from panels in the graphic novel, illustrated by Richard Piers Rayner. An instance of the direct influence was the scene in which Michael Jr. looks up at the Chicago skyline from the vehicle, with the skyline reflected in the vehicle's glass.[18]

A seamless 40-second driving scene in which Michael Sullivan and his son travel into Chicago from the countryside was aided by visual effects. The live-action part of the scene was filmed at LaSalle Street, and due to the lack of scenery for part of the drive down LaSalle Street, the background of Balbo Drive was included with the use of visual effects.[19]

[edit] Themes

[edit] Consequence of violence

"[What's] important, in this story, is what the violence does to the person who pulls the trigger, and what it has done to them over the years, how it has gradually corroded them. It has rotted their insides."
— Sam Mendes[13]

The film's title, Road to Perdition, is both the destination town of Michael Sullivan and his son and also a euphemism for Hell, a road that Sullivan desires to keep his son from traveling. Sullivan, who chooses his violent path early on in life, considers himself irredeemable and seeks to save his son from a similar fate. Said Mendes, "[Sullivan] is in a battle for the soul of his son. Can a man who has led a bad life achieve redemption through his child?"[18] Hanks described his character as a man who achieved a comfortable status through violent means, of which he had ignored the likely repercussions. When Sullivan is faced with the consequences, Hanks says, "At the moment we're dropped into the story, it is literally the last day of that false perspective."[1] To keep Hanks' character from justifying his violent actions in the film, Mendes left out scenes in the final cut that had Sullivan explaining to his son about his background.[2]

In the film, most of the numerous acts of violence are committed off-screen. The acts of violence were also designed to be quick, reflecting the actual speed of violence in the real world. The focus was not on the direct victims of the perpetuated violence, but the impact of violence on the responsible person or witnesses to the act.[13]

[edit] Fathers and sons

Road to Perdition also explores father-son relationships, not only between Michael Sullivan and his son, but between Sullivan and his boss, John Rooney. Sullivan simultaneously idolizes and fears Rooney, and Sullivan's son feels the same for his own father. Rooney's son, Connor, has none of Sullivan's redeeming qualities, and Rooney is conflicted on whom to protect: his real son or his surrogate son. Connor is jealous of his father's relationship with Sullivan, which fuels his actions, ultimately causing a domino effect that drives the film.[1]

Because Sullivan shields his background from his son, his attempt to preserve the father-son relationship is actually harmful. Tragedy takes place to bring Sullivan and his son together.[20] Sullivan escapes from the old world with his son, and the boy finds opportunity to establish a stronger relationship with his father than before. Tyler Hoechlin, who portrayed Michael Jr., explained, "His dad starts to realize that Michael is all he has now and how much he's been missing. I think the journey is of a father and son getting to know each other, and also finding out who they themselves are."[1]

[edit] Water

"The linking of water with death... speaks of the mutability of water and links it to the uncontrollability of fate. These are things that humans can't control."
— Sam Mendes[3]

Water served as a major thematic element in the film. The element was pursued after research for the wake at the beginning of the film informed the director that corpses were kept on ice to keep the body from decomposing. The notion was interwoven into the film, with the presence of water being linked to death.[3]

[edit] Reception

Road to Perdition concluded filming in June 2001,[2] and the studio intended to release the film in the United States the following Christmas, but by September 2001, Mendes requested more time to edit and score for the film. The film was instead scheduled to be released on July 12, 2002 in the United States, an unconventional move that placed the drama among the wide-audience summer films.[2] The film earned $22,079,481 in 1,797 theaters over the opening weekend. The film grossed $104,454,762 in the United States and $76,546,716 in other territories for a worldwide total of $181,001,478.[21]

The film received 82 percent approval out of 198 reviews at the movie review aggregator Rotten Tomatoes.[22] At a similar site, Metacritic, Road to Perdition received an average score of 72 out of 100, based on 36 reviews.[23] Reviewer James Berardinelli praised Road to Perdition for its atmosphere and visuals, but he considered the emotional attachment to be lacking the characters with the exception of Sullivan's son, portrayed by Hoechlin. Berardinelli applauded cinematographer Conrad L. Hall for his cinematic work and also appreciated the unhurried pace of a story that could have been sped up.[24] Roger Ebert of the Chicago Sun-Times praised Hall's cinematography and the thematic use of water throughout the film. Like Berardinelli, however, Ebert felt an emotional detachment from the characters, saying, "I knew I admired it, but I didn't know if I liked it... It is cold and holds us outside."[25] Eleanor Ringel Gillespie of The Atlanta Journal-Constitution enjoyed the film's cinematography and Depression-era setting, as well as solid, convincing performances from Hanks and Newman. Gillespie expressed the wish that the film lasted a little longer to explore its emotional core further.[26]

Eric Harrison of the Houston Chronicle considered Road to Perdition "the most brilliant work in this [gangster] genre" since the uncut Once Upon a Time in America (1984). Harrison enjoyed the film's characters and considered Self's script "so finely honed that the story can change directions in a heartbeat". Harrison also lent praise to the cinematography, considering the setup to accentuate the characters' emotional development.[27] Kirk Honeycutt of The Hollywood Reporter considered the performances of Hanks, Newman, and Daniel Craig to be appropriate, though he called Law's performance "almost cartoonish".[28] Peter Travers of Rolling Stone also complimented Hanks and Newman for their performances, saying, "[They] act together with the confidence of titans, their talents in the service of character, never star ego." Travers enjoyed the combination of Hall's "breathtaking" cinematography and composer Thomas Newman's "evocative" score in the film's scenes.[29]

Paul Clinton of CNN said that Road to Perdition failed to flesh out its multitude of themes. "While these deeply human issues are touched upon, they're never fully explored, and that undermines the sense of greatness to which this movie obviously aspires," Clinton said. Clinton also failed to emotionally identify with the film's characters and considered Craig's character as "one-dimensional to the extreme". He also said that the cinematography was too overpowering for the film's storyline, which he considered "weak".[30] J. Hoberman of The Village Voice considered Road to Perdition to be "grim yet soppy". He described the film, "The action is stilted and the tabloid energy embalmed."[31] Stephen Hunter of The Washington Post thought that the script lost its path when Sullivan and his son fled their old life, leaving behind the characters and the setting with which Hunter had become familiar. Hunter found the character of Maguire hard to care for and noted clichés in the film.[32]

Road to Perdition was nominated for six Academy Awards: Best Supporting Actor (Paul Newman), Best Art Direction, Best Cinematography (Conrad L. Hall), Best Original Score (Thomas Newman), Best Sound, and Best Sound Editing. Of the film's nominations, the sole award went to Hall for Cinematography.[33] The film was also nominated BAFTA Awards for Best Performance by an Actor in a Supporting Role (Paul Newman), Best Cinematography, and Best Production Design, winning awards for the latter two.[34] Hall also won an award from the American Society of Cinematographers for Outstanding Achievement in Cinematography in Theatrical Releases.[35] In April 2006, Empire recognized Road to Perdition as #6 in its list of the top 20 comic book movies.[36]

[edit] Other media

Road to Perdition was released on DVD in February 25, 2003 in both full screen and anamorphic widescreen versions. The DVD's features included an audio commentary, deleted scenes, a HBO "Making of" documentary and a photo gallery.[37] Work on the DVD began on the same day that the film's production began, and a collaborative effort among the director, the studio, and the DVD production crew shaped the DVD's content. Due to a limit of space on the DVD, the film's deleted scenes were chosen over a DTS soundtrack. Instead, the DVD included a Dolby Digital 5.1 soundtrack.[38] A special edition DVD containing both DTS and Dolby Digital 5.1 soundtracks was also released, excluding the "Making of" documentary to fit both soundtracks.[39]

The author of the graphic novel, Max Allan Collins, was hired to write the novelization for the film adaptation. Collins initially turned in a draft that contained 90,000 words, but the licensing at DreamWorks required the author to use only the dialogue from the film and no additional dialogue. Collins reluctantly edited the novelization down to 50,000 words and later said he regretted taking on the task.[14]

[edit] References

  1. ^ a b c d e "Fathers & Sons." Production notes. Road to Perdition (2002). Retrieved on 2007-06-06.
  2. ^ a b c d e f g h i j k l m n Jeff Jensen. "Killer Instinct", Entertainment Weekly, 2002-07-19. Retrieved on 2007-06-06. 
  3. ^ a b c d "Circa 1931." Production notes. Road to Perdition (2002. Retrieved on 2007-06-06.
  4. ^ a b c d Susan Wloszczyna. "Power trio hits the 'Road'", USA Today, 2002-07-12. Retrieved on 2007-06-06. 
  5. ^ Anthony Teofilo. "A Self Made Man", Movie Poop Shoot. Retrieved on 2007-07-25. 
  6. ^ Clint O'Connor. "Out of Season", The Plain Dealer, 2002-07-07. 
  7. ^ a b Anthony Teofilo. "New Kid On The Block", Movie Poop Shoot. Retrieved on 2007-07-25. 
  8. ^ "Capone chats with Max Allan Collins about why he isn't in ROAD TO PERDITION!!!!", Ain't It Cool News, 2002-04-26. Retrieved on 2007-06-06. 
  9. ^ Tom Woodward. "Road to Perdition: DTS Edition", DVDActive.com. Retrieved on 2007-06-12. 
  10. ^ Evan Henerson. "The Understudy", Los Angeles Times, 2002-01-15. Retrieved on 2007-06-06. 
  11. ^ a b c d e Arune Singh. "JUST THE FACTS MA'AM: MAX COLLINS TALKS 'ROAD TO PERDITION'", Comic Book Resources, 2002-06-16. Retrieved on 2007-06-06. 
  12. ^ a b Stax. "Rumblings on The Road to Perdition", IGN, 2002-01-24. Retrieved on 2007-06-06. 
  13. ^ a b c d Rick Lyman. "So, as Paul said to Tom ...", The Guardian, 2002-09-15. Retrieved on 2007-06-06. 
  14. ^ a b c Arune Singh. "COLLINS' 'ROAD' TO THE FUTURE", Comic Book Resources, 2002-08-07. Retrieved on 2007-06-06. 
  15. ^ Adam Duerson. "'Road' Warrior", Entertainment Weekly, 2002-07-17. Retrieved on 2007-06-07. 
  16. ^ a b c d e f Ray Zone. "Emotional Triggers", American Cinematographer, August 2002. Retrieved on 2007-06-06. 
  17. ^ Ray Zone. "A Master of Mood", American Cinematographer. Retrieved on 2007-06-06. 
  18. ^ a b Anthony Teofilo. "ON THE ROAD TO PERDITION", Movie Poop Shoot, 2002-07-03. Retrieved on 2006-06-06. 
  19. ^ David Heuring. "Effecting a Key Transition", American Cinematographer. Retrieved on 2007-06-06. 
  20. ^ J. Sperling Reich. "American Perdition". Retrieved on 2007-07-25. 
  21. ^ Road to Perdition (2002). Box Office Mojo. Retrieved on 2007-05-20.
  22. ^ Road to Perdition (2002). Rotten Tomatoes. Retrieved on 2007-06-12.
  23. ^ Road to Perdition (2002): Reviews. Metacritic. Retrieved on 2007-06-12.
  24. ^ James Berardinelli. "Review: Road to Perdition", ReelViews.net, 2002. Retrieved on 2007-07-25. 
  25. ^ Roger Ebert. "Road to Perdition", Chicago Sun-Times, 2002-07-12. Retrieved on 2007-07-25. 
  26. ^ Eleanor Ringel Gillespie. "Road to Perdition", The Atlanta Journal-Constitution. Retrieved on 2007-07-25. 
  27. ^ Eric Harrison. "Road to Perdition". Retrieved on 2007-07-25. 
  28. ^ Kirk Honeycutt. "Road to Perdition", The Hollywood Reporter, 2002-07-01. Retrieved on 2007-07-25. 
  29. ^ Peter Travers. "Road to Perdition: Review", 2002-08-01. Retrieved on 2007-07-25. 
  30. ^ Paul Clinton. "Review: 'Road to Perdition' scenic trip nowhere", CNN, 2002-07-11. Retrieved on 2007-07-25. 
  31. ^ J. Hoberman. "Industrial Symphony", The Village Voice, 2002-07-10. Retrieved on 2007-07-25. 
  32. ^ Stephen Hunter. "Bedeviled by The Details In 'Perdition'", The Washington Post, 2002-07-12. Retrieved on 2007-07-25. 
  33. ^ 75th Academy Award Nominees and Winners. Academy of Motion Picture Arts and Sciences. Retrieved on 2007-05-20.
  34. ^ 2000-present (PDF). British Academy of Film and Television Arts. Retrieved on 2007-05-20.
  35. ^ ASC 17th Annual Awards -- 2002. American Society of Cinematographers. Retrieved on 2007-05-20.
  36. ^ "The 20 greatest comic book movies of all time", Empire, April 2006, pp. 98-103. Retrieved on 2007-06-07. 
  37. ^ "Road to Perdition - DVD Preview", IGN, 2002-11-27. Retrieved on 2007-06-10. 
  38. ^ "Mark Rowen - DVD Producer of Road to Perdition", DVD Reviewer, 2003-03-19. Retrieved on 2007-06-12. 
  39. ^ Jeremy Conrad. "Road to Perdition - DVD Review", IGN, 2006-02-26. Retrieved on 2007-06-12. 

[edit] Further reading

[edit] External links

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DC Comics films
The Serials
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Single films
Superman and the Mole Men (1951) • Batman (1966) • Supergirl (1984) • Steel (1997) • Road to Perdition (2002) • Catwoman (2004) • A History of Violence (2005) • Constantine (2005) • V for Vendetta (2006) • The Spirit (2008) • Watchmen (2009)
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Films directed by Sam Mendes
American Beauty (1999) • Road to Perdition (2002) • Jarhead (2005) • Revolutionary Road (2008)