In the forests of the Pacific Northwest, a father devoted to raising his six kids with a rigorous physical and intellectual education is forced to leave his paradise and enter the world, challenging his idea of what it means to be a parent.
John Halder, a German literature professor in the 1930s, is initially reluctant to accept the ideas of the Nazi Party. He is pulled in different emotional directions by his wife, mother, mistress and Jewish friend.
It's a post-apocalyptic world, several years after whatever the cataclysmic event, which has in turn caused frequent quakes as further potential hazards. The world is gray and getting quickly grayer as more and more things die off. A man and his pre-teen son, who was born after the apocalypse, are currently on the road, their plan to walk to the coast and head south where the man hopes there will be a more hospitable environment in which to live. The man has taught his son that they are the "good people" who have fire in their hearts, which in combination largely means that they will not resort to cannibalism to survive. The man owns a pistol with two bullets remaining, which he will use for murder/suicide of him and his son if he feels that that is a better fate for them than life in the alternative. Food and fuel are for what everyone is looking. The man has taught his son to be suspect of everyone that they may meet, these strangers who, out of desperation, may not only try to ...Written by
John Hillcoat originally wanted to shoot this film in chronological order, but the logistics of filming at numerous locations in several different states made this an impossibility. See more »
In the beginning, the Man is shown to only have two bullets in his revolver. But when we see the front the revolver after he cocked the hammer and pointed the gun at the urinating gangster we see two rounds in the cylinder. The cylinder will rotate again if the hammer is pulled back, so when he fired seconds later the hammer would have hit an empty chamber. See more »
"We are not gonna quit. We are gonna survive this." The Man
Survival is the ultimate motif of the Cormack McCarthy Pulitzer The Road. And so too is the film adaptation, faithful to the original while adding what McCarthy can't—the actualization of a landscape barren of life and humans barren of humanity. Then again, the film's failure is being even bleaker than the source, a testimony to the power of the imagination.
Except for a father (Viggo Mortensen) and young son (Kodi Smit-Mcphee), who represents the hope of the human race as the story assumes the trappings of allegorical, post-apocalyptic literature and film where the desolate outside mirrors the lonely inside of the humans, not all of whom are willing to carry on the good fight. Suicide becomes a leitmotif, a companion to hope as if out of a Bergman film, an escape from the horrible aftermath of devastation never explained. So much the better because allegorically there are numerous ways for us to ruin our earth and our spirits. Not the least of which could be nuclear or cannibal; the former does not make an appearance while the latter is omnipresent.
Director John Hillcoat has emphasized more than McCarthy the role, by flashback, of the wife/mother (Charlize Theron), but overall he has taken dialogue directly from the novel and stayed true to the bleak landscape where the sun doesn't shine and the trees fall intermittently like humans giving up the ghost.
The gray tones and beat up humans are like those in most post- apocalyptic films; however, as in Children of Men to a lesser extent, the focus is on how to survive, not even how to avoid death. In both cases, it's up to the young ones to "carry a fire' (the mantra of The Road), itself a metaphor for the strength to survive:
"Everything depends on reaching the coast. I told you I would do whatever it takes." The Man
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