Directed by Sam Mendes and based on the graphic novel by Max Allan Collins and Richard Piers Rayner, the Depression-era crime epic ROAD TO PERDITION stars Tom Hanks as Michael Sullivan, a quiet hit man who is duty bound to Mafia boss John Rooney (Paul Newman). The mobster's close bond with Sullivan, however, leads Rooney's jealous blood son, Connor (Daniel Craig), to orchestrate a tragic series of events that results in Sullivan on the run with his 12-year-old son, Michael Jr. (Tyler Hoechlin). Soon an unscrupulous crime photographer/assassin named Maguire (Jude Law) is sent after Sullivan and his son, and Sullivan must decide on a course of action as young Michael comes to terms with his father's violent way of life.
Meticulously directed by Mendes and brilliantly photographed by Conrad Hall, each scene of ROAD TO PERDITION has the composition of an expertly crafted painting. Making effective use of rain, snow, and shadows, the filmmakers create a cinematic world that's as dark, cold, and unforgiving as many of its inhabitants. But the film also allows for glimpses of emotional warmth, particularly in Sullivan's relationships with his son and Rooney, his surrogate father. In these roles, the respective actors create complex characters that resonate even in their restraint; Hanks is outstanding as a man of action with little time for words, while newcomer Hoechlin creates an unsentimental portrait of a confused boy, and Newman once again proves why he's a screen legend. And, in a strikingly unflattering role, Law makes the most out of his screen time as a creepy, parasitic hit man. Even in its harshest moments, however, Mendes never fails to remind the audience that ROAD TO PERDITION is a film about fathers and sons; and this is what elevates it from an atmospheric gangster movie to a truly astonishing work of art.
I would like to underline the last sentence: yes, "Road to Perdition" is not what you might expect by first looking at the poster or images from the film - it's not one of those movies about the 1930's having gang wars and prohibition as the main subject. No, it's a film about fathers and sons. On one hand there is a gangster boss, the old gentleman John Rooney, with his son Connor, on the other hand Mr. Rooney's hit man Michael Sullivan, with his son Michael, Jr.
Things become complicated when Michael, Jr. witnesses a crime scene involving his Dad and Connor Rooney. He promises not to tell anyone, but Connor - a little sick in his mind anyway - doesn't want to take any chances and kills Michael's mother and his younger brother Peter (Michael himself is not at home at this time). I noticed an illogicalness at this point. Director Sam Mendes tells us in the commentary track that Connor believes that Peter was the witness. That doesn't make sense because Connor saw the real witness (Michael) the day before! The only explanation I could come up with is that it was too dark and rainy, so he couldn't really see the face.
From now on each father has to protect his son: Sullivan his son Michael from being killed by Connor and Rooney his son Connor from being killed by Sullivan, who has no other choice than killing Connor since he wouldn't rest until Sullivan and his son are dead. The film kind of becomes a road movie from this point because father and son always have to run until the decisive action is accomplished. The film even features a "Bonnie and Clyde" kind of style as they rob banks to get along, but since they are somehow the good guys in this movie, they only steel dirty money from Al Capone.
"Road to Perdition" is literally a very dark movie and there's also a lot of rain. The graphical violence is not too vehemently because most of the shootings are filmed in the "Off" (which means the camera not showing it). The dark theme of the film is very well underlined by the melancholic score from composer Thomas Newman. It's also a film about the interpersonal relationships between Rooney and Sullivan, who has always been like a son to Rooney, you could even say that he was his favorite "son", so the old man is torn between two sides and he only gives his consent to kill Sullivan because Connor is his own blood.
Last, but not least, there is this mentally sick assassin (paid to kill Sullivan), played by Jude Law, who adds more zest to the storyline.
