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Revolutionary Road (2008)

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A young couple living in a Connecticut suburb during the mid-1950s struggle to come to terms with their personal problems while trying to raise their two children.

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(screenplay), (novel)
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Nominated for 3 Oscars. Another 19 wins & 67 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Sam Rosen ...
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Kathryn Dunn ...
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Party Dancer (as Joe Kamara)
Allison Twyford ...
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Storyline

It's 1955. Frank and April Wheeler, in the seventh year of their marriage, have fallen into a life that appears to most as being perfect. They live in the Connecticut suburbs with two young children. Frank commutes to New York City where he works in an office job while April stays at home as a housewife. But they're not happy. April has forgone her dream of becoming an actress, and Frank hates his job - one where he places little effort - although he has never figured out what his passion in life is. One day, April suggests that they move to Paris - a city where Frank visited during the war and loved, but where April has never been - as a means to rejuvenate their life. April's plan: she would be the breadwinner, getting a lucrative secretarial job for one of the major international organizations, while Frank would have free time to find himself and whatever his passion. Initially skeptical, Frank ultimately agrees to April's plan. When circumstances change around the Wheelers, April ... Written by Huggo

Plot Summary | Plot Synopsis

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated R for language and some sexual content/nudity | See all certifications »

Parents Guide:

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Details

Country:

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Language:

Release Date:

23 January 2009 (USA)  »

Also Known As:

Sólo un sueño  »

Filming Locations:

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Box Office

Budget:

$35,000,000 (estimated)

Opening Weekend:

$189,911 (USA) (26 December 2008)

Gross:

$22,877,808 (USA) (27 March 2009)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

At around 61 minutes in the movie, during an argument, a fallen painting of the Titanic is visible in the bottom left of the frame, behind April. Kate Winslet and Leonardo DiCaprio both starred in the movie Titanic (1997). See more »

Goofs

The masses of male commuters shown at the beginning all wear hats. In reality more than half of them would have been bareheaded. Ads by hat makers in the mid 1950s (see old Life magazine online, for example) were desperately pleading with men to go back to the custom of wearing a hat; I can also testify from personal memory that at that time in downtown Manhattan most men who worked in offices went about hatless. Had the scenes been set in winter, the men in overcoats etc, a few more head coverings would have been realistic. But not many. The mid-fifties, between the age of the hat and the age of the baseball cap, were the great age of bare-headedness. The depiction of Grand Central station packed with uniform masses of office workers was itself unrealistic. Even during rush hour, any snapshot of the crowd there would have included a more heterogeneous crowd of people, different ages, different occupations, male and female. See more »

Quotes

[first lines]
Frank Wheeler: So, what do you do?
April Wheeler: I'm studying to be an actress. You?
Frank Wheeler: I'm a longshoreman.
April Wheeler: No, I mean, really.
Frank Wheeler: I mean really, too. Although starting next Monday I'm doing something a little more glamorous.
April Wheeler: What's that?
Frank Wheeler: Night cashier at a cafeteria.
April Wheeler: I don't mean how you make money. I mean, what are you interested in?
Frank Wheeler: Honey, if I had the answer to that one, I bet I'd bore us both to death in half an hour.
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Crazy Credits

At the end of the closing credits: "For Mia and Joe." See more »


Soundtracks

Howdy Doody - It's Howdy Doody Time
Written by Edward Kean
Performed by Bob Smith (as Robert Smith)
Courtesy of NBC Studios, Inc.
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User Reviews

 
Book 10/10 - Film 8/10
10 December 2008 | by (london) – See all my reviews

I went to see this at an advanced screener in Leicester Square last night. Kate Winslett chatted about the film on stage afterward. I went as one of those people who'd read the book and consider that source material to be amongst the best literature I'd ever read. I was wondering if and how the film could match up. My prior concerns were about how accurate the film would be. Well, there's nothing to worry about there. Mendes has created a near carbon copy of the book, the locations, characters and scenes are all exactly as I 'saw' them on the page. Nothing (as far as I could tell) is portrayed out of order, no extra characters are introduced, and no primary characters are dropped or altered. The acting is 100% perfect. The mies-en-scene is perfect. Absolutely nothing could or should have been done differently. So why not 10/10? The problem lies in the fact that Yates' novel is a literary one, much of the essence of the experience of the story is realized by Yates with just the right turn of phrase or choice of word. How does a director set about depicting or capturing this visually? I don't think he really can, he needs to use cinematic tricks and devices to inject resonance, the same resonance Yates achieves with that turn of phrase. But in being so (probably rightly) concerned about being true to the source material, the film somehow comes up a little flat as a film going experience, a sort of American Beauty without the crucial stylistic bells and whistles. Kate Winslett said afterward that (interestingly) it was she who had brought the book and the project to her husband, not vice versa and that it took some consideration for Sam Mendes to convince himself that he hadn't already told this story before, and by the final credits, I too was thinking just that, it felt like I'd watched a prequel to American Beauty, but without the pizazz and the rapture and the delight. So, the book, 10/10, the film, 8/10.


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