‘Perdition’ tries, but it takes the wrong ‘Road’

In “The Road to Perdition,” Tom Hanks abandons his all-American

everyman to portray a mobster in a Depression-era Midwest landscape

that appears to be a cross between the lonely isolated images of Ed

Hopper and the film noir images that populate the writings of Hammett

and Chandler.

“Road” is a rare big-budgeted Hollywood vehicle that strives for

artistry and ambition. Directed by Sam Mendes (“American Beauty”),

the film obviously aspires to something relevant and lasting. The

film is populated with artists of every caliber from cinematographer

Conrad Hall (“In Cold Blood,” “Tell Them Willie Boy Is Here,” “Fat

City”) to a reinvigorated Paul Newman, and the solid performances of

supporting characters as Jude Law, Stanley Tucci and a woefully

underutilized Jennifer Jason Leigh. While the everlasting artistic

goal may not have been reached, the attempt is superior to most

products that are foisted upon us at the megaplexes.

In “Road,” Hanks plays a mobster-assassin fleeing the world and

profession he has obviously excelled at with his son, Michael Jr.

(Tyler Hoechlin). Prior to a major turning event in his life, Hanks’

Michael Sullivan was a good family man trying to save himself, his

family and his sons from the life choices he made. Sullivan’s other

family was headed by mob patriarch John Rooney (Newman), who

considers Sullivan as his own. The paternal conflict between

Sullivan, Rooney and Rooney’s own son, Connor (Daniel Craig), leads

to inevitable conflicts, a confrontation and eventual resolution.

The better elements of “Road” are again the portrayals by the

featured performers. Hanks’ Sullivan is in awe of Newman’s Rooney,

and Hanks’ reaction to being in the same shot with Newman reveals an

obvious adoration. Sullivan’s adoration of Rooney highlights the

eventual paternal conflict that will confront both. Newman, who has

unfortunately been mired in roles unbefitting of an actor of his

talent, seems reinvigorated by Rooney. Newman’s portrayal is

reminiscent of the flawed characters he played in “The Sting,” “Hud”

and “The Verdict.” In fact, Newman’s presence on screen highlights

one of the movie’s major themes: Nobility in a corrupt world. Both

Sullivan and Rooney both possess their own version of nobility, but

it is their own striving to stay within their flawed defined

understanding of nobility that will ultimately lead to their ruin.

The movie painstakingly attempts to create an aura of doom, but

somehow the valiant attempt is ultimately empty.

* ROB OROZCO, 30, is an attorney. He lives in Newport Beach with

his wife and two cats.