Filme Kate Winslet E Leonardo Dicaprio

2008 romantic drama film past Sam Mendes

Revolutionary Route
Theatrical release poster
Directed by	Sam Mendes
Screenplay by	Justin Haythe
Based on	Revolutionary Road by Richard Yates
Produced by	Bobby Cohen Sam Mendes Scott Rudin John Hart
Starring	Leonardo DiCaprio Kate Winslet Michael Shannon Kathryn Hahn David Harbour Kathy Bates
Cinematography	Roger Deakins
Edited by	Tariq Anwar
Music by	Thomas Newman
Production companies	DreamWorks Pictures BBC Films Neal Street Productions Evamere Entertainment[ane]
Distributed by	Paramount Vantage
Release dates	Dec 26, 2008 (2008-12-26) (U.s.) Jan 30, 2009 (2009-01-xxx) (Britain)
Running time	119 minutes
Countries	Britain U.s.a.
Language	English
Budget	$35 million
Box office	$76 million[ii]

Revolutionary Road is a 2008 romantic drama film directed by Sam Mendes. The screenplay was written by Justin Haythe, adapted from the 1961 novel of the same name by Richard Yates. It stars Leonardo DiCaprio and Kate Winslet, with Michael Shannon, Kathryn Hahn, David Harbour, and Kathy Bates in supporting roles. The film follows Frank (DiCaprio) and Apr Wheeler (Winslet), a mid-1950s couple struggling to cope with their personal bug and ensuing breakdown in their marriage. Revolutionary Road is the second onscreen collaboration for DiCaprio, Winslet, and Bates, all of whom previously co-starred in 1997's Titanic.

Development of the pic adaptation first began in 1961. However, a lack of commercial prospects and disagreements with the screenplay caused the project to exist in limbo until the 2000s. BBC Films eventually purchased the film rights to the novel and Haythe rewrote the screenplay. Winslet read the script and persuaded her then-hubby Mendes to direct, and DiCaprio to play the function of Frank. Main photography began in 2007 on location in Darien, Connecticut. The film soundtrack was equanimous by Thomas Newman; it was his 4th collaboration with Mendes.

Revolutionary Road was released in the The states on December 26, 2008, followed by a wider international release in Jan 2009, and grossed $76 million at the worldwide box office. The film received positive reviews from critics, who lauded the performances of DiCaprio, Winslet and Shannon, as well equally the faithfulness to the novel. For their performances, DiCaprio and Winslet earned Golden Globe nominations for All-time Actor and Best Actress, respectively, of which Winslet won. The film too received three Academy Award nominations: Best Supporting Histrion (Shannon), Best Art Management and All-time Costume Design.

Plot [edit]

In 1948, Frank Wheeler meets Apr at a political party. He is a longshoreman and a night cashier; she wants to be an extra. In their ensuing relationship, Apr becomes pregnant. In response, they marry and Frank secures a sales position with Knox Machines. After their second child, they move to a home on Revolutionary Road in Connecticut.

The couple become shut friends with their realtor Helen Givings and her husband Howard Givings, and neighbour Milly Campbell and her husband Shep. To their friends, the Wheelers are the perfect couple, simply their relationship is troubled. April fails to make a career out of acting, while Frank hates the tedium of his work. On his 30th birthday, Frank invites a secretary at work to accept a drink with him at a bar. She accepts, becomes heavily intoxicated, and they finish upwards having sex. Meanwhile, Helen has asked Apr if they will meet her son, John, who had been in an insane asylum. She thinks the younger couple may be able to assistance her son with his status. April accepts.

April wants a change of scenery and a chance to back up the family and then Frank can find his passion, so she suggests that they motility to Paris to start a new life away from the "hopeless emptiness" of their lifestyle. Frank balks at the idea at get-go, but becomes convinced. Over the next several weeks, the Wheelers tell their various friends about their plans to live in Paris, just surprisingly, the just person who seems to comprehend their decision is John.

As the couple prepares to move, they are forced to reconsider. Frank is offered a promotion, and Apr becomes pregnant once more. When Frank discovers she is contemplating having an abortion, the couple have an altercation, in which April says that they had their 2nd child only to prove the first child was not a "mistake". The next day, Frank takes the promotion and tries to accept his uneventful life. At the end of an evening at a jazz bar with the Campbells, Shep and April end up lonely together. She confides in him of her depression over the canceled Paris plans and her life in general, and they end upwards having sexual activity in the machine. Shep professes his long-held love for Apr, merely she rejects his involvement.

The following mean solar day, Frank confesses to having had an affair, hoping to reconcile with April. To his surprise, April responds apathetically and tells him it does not matter, as her love for him has gone, which he does non believe. The Givings family come over for dinner, and Frank announces to the guests that their plans have changed because April is pregnant. John lambasts Frank for crushing April's hope, too equally his acceptance of his circumstances. Angered, Frank nearly attacks John, and the Givings family leave. Afterwards, Frank and April take an atmospherics, and April flees the house.

Frank spends the night in a drunken shock. The next morning he is shocked to find April in the kitchen, calmly making breakfast. Frank, unsure of how to react, eats with her and then leaves for work. April so goes to the bathroom, where she attempts to perform an abortion on herself. Subsequently, she discovers she is bleeding and calls an ambulance. Frank arrives at the hospital, distraught, and is comforted by Shep. April dies in the hospital from claret loss. A guilty Frank moves to the metropolis and starts selling computers. He spends his spare fourth dimension with his children.

A new couple, the Braces, buys their quondam domicile and Milly tells the story of the Wheelers to them. Shep stands upward and walks out of the house, crying; he tells Milly to never talk about the Wheelers ever over again. Helen talks to her husband, years later, about how the Braces seem to be the best-suited couple for the Wheelers' sometime house. When her husband mentions the Wheelers, Helen starts to explicate why she did non like them. Equally she continues to elaborate, her husband turns off his hearing aid.

Cast [edit]

• Leonardo DiCaprio as Frank Wheeler
• Kate Winslet as April Wheeler
• Michael Shannon as John Givings, Jr.
• Kathryn Hahn as Milly Campbell
• David Harbour as Shep Campbell
• Kathy Bates every bit Helen Givings
• Ty Simpkins as Michael Wheeler
• Richard Easton equally Howard Givings
• Ryan Simpkins as Jennifer Wheeler
• Dylan Baker as Jack Ordway
• Zoe Kazan equally Maureen Grube
• Max Casella as Ed Small
• Jay O. Sanders as Bart Pollock

Production [edit]

Development and casting [edit]

In 1961, following the publication of Richard Yates' novel, director John Frankenheimer considered making the film, but opted to make The Manchurian Candidate, instead.^[3] Samuel Goldwyn Jr. expressed an interest in the film adaptation, but others in his studio told him that it lacked commercial prospects.^[4] Then in 1965, producer Albert S. Reddish bought the rights but disliked the ending to the novel, and wanted to obscure April'south death with "tricky camerawork".^[4] He became involved in adapting The Godfather and, five years afterwards, while a author-in-residence at Wichita State University, Yates offered to suit his work for the screen. Cerise was occupied past other projects at the time and demurred, somewhen selling the rights to actor Patrick O'Neal. The role player praised the book and spent the remainder of his life trying to finish a workable screenplay.^[4] Yates read O'Neal'south treatment of his novel and found it "godawful", but O'Neal refused the writer's repeated offers to buy back the rights to the novel. Yates died in 1992, O'Neal two years later.^[3]

The projection remained in limbo until 2001 when actor Todd Field expressed interest in adapting it for the screen. However, when told past the O'Neal estate he would be required to shoot O'Neal'due south script as written, Field changed his mind and went on to direct Little Children instead.^[5] Producer David Thompson eventually purchased the rights for BBC Films.^{[half dozen]} In March 2007, BBC Films established a partnership with DreamWorks, and the rights to the film's distribution were transferred to DreamWorks' owner, Paramount Pictures. On February 14, 2008, Paramount'southward other division, Paramount Vantage, announced that it was "taking over distribution duties on Revolutionary Road".^[7] The BBC hired Justin Haythe to write the screenplay considering, according to the screenwriter, he was "hugely affordable".^[iv]

Revolutionary Road was the second onscreen collaboration between DiCaprio and Winslet.

Kate Winslet received the screenplay from her agent, and and then read the novel. She was impressed and even met with O'Neal's widow, Cynthia O'Neal, and discussed the motion-picture show accommodation.^[8] Winslet sent the script to producer Scott Rudin, who suggested that her then-husband, Sam Mendes would be perfect as director.^[iv] Winslet gave Mendes Yates' novel and said, "I actually want to play this office".^[9] He read Haythe's script and so the book in quick succession. Haythe's first draft was very faithful to the novel, using large parts of Yates' ain linguistic communication, but Mendes told him to notice ways to externalize what Frank and April practise non say to each other.^[iv]

Winslet sent the script to friend Leonardo DiCaprio, and persuaded him to take the part of Frank.^[iv] DiCaprio was intrigued past the 1950s era and complexities of matrimony; "The dynamic between Frank and April is so powerful and realistic, you experience like y'all're a fly on the wall watching an intimate relationship disintegrate," he said.^[x] DiCaprio said that he saw his grapheme every bit "unheroic" and "slightly cowardly", and that he was "willing to be just a product of his environment".^[11] On April 24, 2007, it was announced that Kathy Bates had joined the bandage, forth with David Harbour, Michael Shannon and Zoe Kazan.^[12] Kazan said she fought hard for the role of Maureen Grube, despite objections from casting director Debra Zane who thought she was as well immature.^[13]

To prepare for the role, Winslet read The Feminine Mystique by Betty Friedan.^[14] She said, "The hardest thing about playing April, honestly, was making a very specific choice to not accept her existence as mannered as she is in the book. In the volume, she's very, very highly strung and sometimes hysterical. She feels like a cord that's literally going to snap at any moment."^[15] DiCaprio prepared for the role by watching several documentaries about the 1950s and the origin of suburbs. He and Winslet take been reluctant on starring in projects together that bear witness them in a romantic relationship since Titanic.^[eleven] DiCaprio said, "we just knew it would be a fundamental mistake to try to repeat whatsoever of those themes".^[16]

Filming [edit]

In mid-2007, the bandage apposite for three-and-a-half weeks before principal photography and shot mostly in sequence and on location in Darien, Connecticut.^[17] Mendes wanted to create a claustrophobic dynamic on set, so he filmed the Wheeler home interiors in a real firm. The property, including the neighbour's house, were very pocket-size but featured 1950s-style architecture.^[ten] The homeowners gave permission for DreamWorks to dismantle and remodel the interior and outside.^[eighteen] Around 45 tradespeople were involved with the transformation, including carpenters, interior designers and landscapers.^[18] Production designer Kristi Zea and her team had v weeks to renovate the homes. "Nosotros wanted to keep the sense of isolation that was described in the book", Zea said.^[xviii] Debra Schutt served as a set decorator, and said, "Nosotros ruled out anything with brilliant colors and annihilation that hitting yous over the head with the period. The expect is really quite plain".^[19]

Cinematographer Roger Deakins was meticulous with the dwelling house'due south interior lighting.

Cinematographer Roger Deakins, who previously worked on Mendes' Jarhead, shot with a combination of jib and handheld camera equipment. Deakins analyzed the use of every low-cal fixture in the house; Schutt recalls "he'due south quite specific almost what he wants. For case, for the night scene by the side of the road, he wanted streetlights that would requite a rectangular, tapered light, and for an argument in the Wheelers' front room, he wanted a ceiling fixture that would send light down and out in a fan shape with a hard edge".^[19] Period streetlights and automobiles were too fitted with specific light bulbs past the art department.^[20] Deakins institute information technology difficult at times working in a small, shaded house with beefy camera equipment. Nevertheless, Winslet was impressed with his ability to "bounce light all over" using Arri Compact HMI lamps.^{[10] [20]} To gradually illustrate the home's neglect and Wheelers' collapsing marriage, the coiffure removed props in the house and Deakins transitioned to handheld cameras, respectively.^{[18] [21]} Mendes said, "I wanted a existent rawness in Leo and Kate'southward performances in the terminal half-hour of the movie, and when we reached that signal, I told Roger I didn't want to make whatsoever decisions [most shots]; I wanted it to be handheld, and I wanted to allow the actors be explosive and unpredictable".^[21]

Recalling the on-prepare atmosphere, Michael Shannon said that he did not feel that there were whatever "stars", but "a group of people united by a passion for the material and wanting to honor the book".^[22] He said Winslet and DiCaprio could just brand such a good operation as a couple because of their friendship since Titanic. For Shannon, it was more than of import to prepare for the moment when he walked on the set than existence concerned about the actors he was working with.^[22] In the fight scenes between DiCaprio and Winslet, DiCaprio said, "So much of what happens between Frank and Apr in this film is what's left unsaid. I actually plant it a existent joy to exercise those fight scenes considering finally, these people were letting each other have it".^[16] Winslet described her working human relationship with DiCaprio as "challenging" and "physically comfortable", but she as well felt "pressure" working with him, and working with her then-husband Mendes.^[xv] She added, "the on-set atmosphere was very fluid in that fashion in that we'd all share ideas [...] without treading on each other's toes".^[15] DiCaprio establish the filming process physically and emotionally exhausting, that he postponed his next film for two months.^[17]

Once filming was consummate, Deakins had the film negative (Kodak Vision2 200T 5217 and 500T 5218) candy at DuArt Motion picture and Video in New York, ane of his favorite laboratories in the area.^[21] During mail-production, handled by EFILM, Mendes deleted around 20 minutes of footage to continue it in the spirit of Yates' novel.^[4]

Music [edit]

Thomas Newman equanimous the soundtrack for Revolutionary Route; it is his quaternary moving-picture show score collaboration with Mendes. Consisting of fifteen tracks, Newman uses a variety of pianoforte, strings, metallic sound effects and basslines for a haunting minimalist sound.^[23] The music was recorded at Newman Scoring Stage in Los Angeles and the album was released on December 23, 2008.^[24]

Release [edit]

Box office [edit]

Revolutionary Road premiered in Los Angeles on Dec xv, 2008, followed past a express U.South. release on December 26, 2008, and so a wider release (1,058 theaters) on January 23, 2009. In most other countries, information technology was released betwixt January 15–xxx, 2009.^[25] The moving-picture show earned $22.9 million at the domestic box office and $56.6 million internationally for a moderate worldwide $76 1000000.^[2]

Domicile media [edit]

Revolutionary Road was released on DVD and Blu-ray on June 2, 2009.^[26] The Blu-ray edition includes an audio commentary by Mendes, 26-minutes of deleted scenes, and two documentaries on the development of the projection.^[27]

Critical reception [edit]

Information technology takes the skill of stars Winslet and DiCaprio and director Mendes to become this film to a place where information technology involves and moves us ... Justin Haythe'southward screenplay does many proficient things, but it can't escape the arch lingo of the time ... his [Mendes] gift for eliciting naturalness, the core of this motion-picture show finally cries out to united states of america today, makes us see that the notion of characters struggling with life, with the despair of betraying their best selves because of what club will or won't let, is as gripping and relevant now as it ever was. Or ever will be.^[28]

—Kenneth Turan of the Los Angeles Times

Revolutionary Road received generally positive reviews from critics. On the review aggregator Rotten Tomatoes, the film has an approving rating of 67% based on 215 reviews, with an average score of vi.60/x. The website'due south critical consensus reads, "Brilliantly acted and emotionally powerful, Revolutionary Road is a handsome adaptation of Richard Yates' historic novel".^[29] On Metacritic, the film has a weighted average score of 69 out of 100, based on 38 critics, indicating "generally favorable reviews".^[30]

Male monarch Reed of The New York Observer gave the picture show a positive response; "a flawless, moment-to-moment autopsy of a marriage on the rocks and an indictment of the American Dream gone sour" and "a profound, intelligent and deeply heartfelt work that raises the bar of filmmaking to exhilarating".^[31] Peter Travers of Rolling Stone called the film "raw and riveting" and commented, "Directed with extraordinary skill by Sam Mendes, who warms the chill in the Yates-faithful script past Justin Haythe, the film is a tough road well worth traveling ... DiCaprio is in meridian grade, bringing layers of buried emotion to a defeated homo. And the glorious Winslet defines what makes an actress groovy, blazing commitment to a graphic symbol and the range to brand every nuance felt".^[32] Writing for the San Francisco Chronicle, Mick LaSalle said, "Finally, this is a film that can and should be seen more than in one case. Watch it one time through her eyes. Lookout information technology again through his eyes. It works both ways. It works in every manner. This is a great American moving picture".^[33]

Roger Ebert of the Chicago Sun-Times gave Revolutionary Road a maximum rating of 4 stars, commending the interim and screenplay and calling the moving-picture show "then good it is devastating". Of DiCaprio and Winslet, he said, "they are so adept, they stop being actors and go the people I grew upwardly around".^[34] Entertainment Weekly'due south Owen Gleiberman graded the motion picture B+ and commented, "The motion picture is lavishly dark—some might say as well nighttime—even so I'd suggest it has a unlike limitation: For all its shattering domestic discord, in that location'southward something remote and aestheticized about it. April brings a individual well of conflict to her eye-form prison, but Winslet is so meticulous in her telegraphed despair that she intrigues us, moves us, nonetheless never quite touches our unguarded fretfulness".^[35] Joe Neumaier of the New York Daily News said:

[the film] comes close but falls brusk of capturing Richard Yates' terrific novel... the movie—two-thirds Mad Men, one-tertiary American Beauty, with a John Cheever attorney—works best when focusing on the personal. Thankfully, it'due south there that Mendes and screenwriter Justin Haythe catch some of Yates' weighty ideas, and where Leonardo DiCaprio and Kate Winslet succeed in doing the heavy lifting... DiCaprio, round-shouldered and sleepy-eyed, and Winslet, watchful and alarm, heighten up each other and everything around them. Never in one case shadowed by Titanic, they propose, often wordlessly, the box the Wheelers accept found themselves in. Whereas the novel is told mostly from Frank'due south viewpoint, the picture is simply as much April'southward, and Winslet, whether fighting dorsum or fighting back tears, is sensational.^[36]

Some film critics gave a mixed response. David Ansen of Newsweek opined that it is "impeccably mounted—possibly too much so. Mendes [...] has an innately theatrical style: everything pops off the screen a little bigger and bolder than life [...] Instead of losing myself in the story, I often felt on the outside looking in, appreciating the craftsmanship, but ane footstep removed from the agony on display. Revolutionary Road is impressive, but it feels like a classic encased in bister".^[37] Kirk Honeycutt of The Hollywood Reporter described the pic as a "didactic, emotionally overblown critique of the soulless suburbs", and thought it was a repeat of American Beauty. He wrote, "Once again, the suburbs are well-upholstered nightmares and its denizens clueless—other than one estranged male. Everything is boldly indicated to the audition from curvation acting styles to the wink-wink, nod-nod of its design. Indeed his actors play the subtext with such fury that the text virtually disappears. Subtlety is not i of Mendes' strong suits".^[38]

Writing for Variety magazine, Todd McCarthy idea the flick was "true-blue, intelligent, admirably acted, superbly shot". He added, "It also offers a nigh-perfect case study of the means in which film is incapable of capturing certain crucial literary qualities, in this case the very things that elevate the book from existence a merely insightful study of a deteriorating marriage into a remarkable 1 [...] Even when the dramatic temperature is cranked upwardly also loftier, the motion picture'due south underpinnings seem only partly present, to the point where i suspects that what it'south reaching for dramatically might be all but unattainable—perhaps approachable only by Pinter at his elevation."^[39] McCarthy later changed his opinion, calling Revolutionary Road "problematic" and that it "has some issues that just won't become abroad".^[twoscore] He concludes that Revolutionary Road suffers in comparison to Baton Wilder'southward The Apartment and Richard Quine'south Strangers When Nosotros Meet because of its "narrow vision", even arguing that the television series Mad Men handles the problems of conformity, frustration, and hypocrisy "with more panache and precision".^[xl]

Top ten lists

The picture appeared on several critics' height ten lists of the all-time films of 2008.

• 1st – Mick LaSalle, San Francisco Relate ^[33]
• second – Rex Reed, New York Observer ^[41]
• 6th – Peter Travers, Rolling Stone ^[42]
• 7th – Lou Lumenick, New York Post ^[43]
• 8th – James Berardinelli, ReelViews ^[44]
• 9th – David Denby, The New Yorker ^[45]
• No society – Joe Neumaier, New York Daily News ^[46]
• No order – Roger Ebert, Chicago Sunday-Times (alphabetical top 20 list)^[47]

Awards and nominations [edit]

List of awards and nominations
Awards	Category	Recipients	Result	Ref.
Academy Awards	Best Supporting Thespian	Michael Shannon	Nominated	[48]
	Best Art Management	Debra Schutt and Kristi Zea	Nominated
	All-time Costume Design	Albert Wolsky	Nominated
British Academy Film Awards	All-time Actress	Kate Winslet	Nominated	[49]
	Best Costume Design	Albert Wolsky	Nominated
	Best Production Design	Debra Schutt and Kristi Zea	Nominated
	Best Adapted Screenplay	Justin Haythe	Nominated
Chicago Film Critics Clan Awards	Best Supporting Actor	Michael Shannon	Nominated	[50]
Costume Designers Guild Awards	All-time Costume Design – Period Motion-picture show	Albert Wolsky	Nominated	[51]
Detroit Film Critics Society	All-time Actor	Leonardo DiCaprio	Nominated	[52]
	Best Actress	Kate Winslet	Won
	Best Supporting Actor	Michael Shannon	Nominated
	Best Cast	Revolutionary Route	Nominated
Gilded Globe Awards	Best Move Movie – Drama	Revolutionary Road	Nominated	[53]
	Best Actor – Motility Pic Drama	Leonardo DiCaprio	Nominated
	Best Extra – Film Drama	Kate Winslet	Won
	Best Director – Move Picture	Sam Mendes	Nominated
Houston Picture show Critics Society Awards	Best Actor	Leonardo DiCaprio	Nominated	[54]
	Best Extra	Kate Winslet	Nominated
	Best Cinematography	Roger Deakins	Nominated
	Best Original Score	Thomas Newman	Nominated
London Moving-picture show Critics Circumvolve Awards	Actress of the Year	Kate Winslet	Nominated	[55]
New York Film Critics Circle Awards	Best Actress	Kate Winslet	third Place	[56]
Online Film Critics Society Awards	Best Extra	Kate Winslet	Nominated	[57]
	All-time Supporting Histrion	Michael Shannon	Nominated
Palm Springs International Film Festival	Ensemble Cast	Leonardo DiCaprio, Kate Winslet, Michael Shannon, Kathryn Hahn, David Harbour, Kathy Bates, Dylan Baker and Zoe Kazan	Won	[58]
Satellite Awards	Best Film – Drama	Revolutionary Road	Nominated	[59]
	Best Actor – Movement Flick Drama	Leonardo DiCaprio	Nominated
	Best Supporting Actor – Motion Picture	Michael Shannon	Won
	Best Adapted Screenplay	Justin Haythe	Nominated
	All-time Art Direction and Production Design	Kristi Zea, Teresa Carriker-Thayer, John Kasarda and Nicholas Lundy	Nominated
Screen Actors Lodge Awards	Outstanding Operation by a Female person Actor in a Leading Role	Kate Winslet	Nominated	[60]
St. Louis Gateway Pic Critics Clan Awards	All-time Actor	Leonardo DiCaprio	Nominated	[61]
	All-time Actress	Kate Winslet	Won
	Best Supporting Player	Michael Shannon	Nominated
	Best Cinematography	Roger Deakins	Nominated
Vancouver Film Critics Circle Awards	Best Actress	Kate Winslet	Won	[62]

References [edit]

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External links [edit]

• Official website (annal)
• Revolutionary Road at IMDb
• Revolutionary Road at AllMovie
• Revolutionary Road at Rotten Tomatoes
• Revolutionary Road at Metacritic
• Revolutionary Road at Box Office Mojo

Source: https://en.wikipedia.org/wiki/Revolutionary_Road_%28film%29

Posted by: stitesisfuld.blogspot.com

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