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Road to Perdition

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This article is about the film. For other works with the same title, seeRoad to Perdition (disambiguation).

Road to Perdition
Theatrical release poster
Directed bySam Mendes
Screenplay byDavid Self
Based on
Road to Perdition
by
Produced by
Starring
CinematographyConrad L. Hall
Edited byJill Bilcock
Music byThomas Newman
Production
company
Distributed by
Release date
  • July 12, 2002(2002-07-12)(United States)
Running time
117 minutes
CountryUnited States
LanguageEnglish
Budget$80 million[1]
Box office$183.4 million[1][2]

Road to Perditionis a 2002 Americancrime drama filmdirected bySam Mendesand written byDavid Self,based on the first volume of thegraphic novel series of the same namebyMax Allan CollinsandRichard Piers Rayner.It starsTom Hanks,Paul Newman(in his final live-action theatrical film role),Jude Law,Jennifer Jason Leigh,Stanley Tucci,Daniel CraigandTyler Hoechlinin his film debut. Set in 1931 during theGreat Depression,the film follows amob enforcerand his son as they seek vengeance against the mobster who murdered the rest of their family. The film explores themes such as father-son relationships and the consequences of violence.

Road to Perditionwas screened at the59th Venice International Film Festivalon August 31, 2002, where it was nominated for theGolden Lion.The film was theatrically released in the United States on July 12, 2002, and was a box office success, grossing over $181 million against its $80 million budget. It was well received by critics, who praised Mendes's direction,Conrad L. Hall's cinematography, and the performances of the cast. At the75th Academy Awards,the film was nominated forBest Supporting Actorfor Newman,Best Original Score,Best Sound Editing,Best Sound Mixing,andBest Art Direction.Hall was posthumously awarded the Oscar forBest Cinematography.[3]

Plot

[edit]

Michael Sullivan, Sr. was orphaned and then raised byIrish MobbossJohn RooneyinRock Island,Illinois;unbeknownst to his own children, he is now Rooney's most fearsome enforcer. Rooney has come to love Sullivan more than he loves his own biological son, the rash and unpredictable Connor.

Speaking in 1931 at his brother's wake, Rooney associate Finn McGovern insinuates that Rooney is responsible for his brother's death. Rooney sends Connor and Sullivan to talk with McGovern. Sullivan's older son, twelve-year-old Michael Jr., watches the interaction through a hole in the wall. McGovern denies that his brother stole anything from the mob and implies that Connor was responsible for the theft. Connor shoots McGovern, forcing Sullivan to shoot the other armed witnesses in self-defense. Sullivan learns that Michael saw the shootout and swears him to secrecy.

Rooney sends Sullivan to collect a debt from Tony Calvino. Connor, jealous and afraid, sends a letter with Sullivan for Calvino. Calvino reads the letter and reaches for his revolver, but Sullivan kills both Calvino and his bodyguard. The letter reads, "Kill Sullivan and all debts are paid". Sullivan rushes home. When he arrives, he discovers that Connor has already murdered his wife, Annie, and their younger son, Peter. Michael was unharmed, as he had arrived home late from detention.

Sullivan and Michael flee Rock Island and head to Chicago to meet mobsterFrank Nitti.Sullivan offers to work for theChicago Outfitin exchange for permission to kill Connor. Nitti rejects his offer and advises Sullivan against seeking revenge. Rooney, listening next door with Connor, reluctantly allows Nitti to dispatchfreelance killerHarlen Maguire to kill Sullivan. Maguire tracks the Sullivans to a roadside diner. Maguire and Sullivan have a seemingly casual conversation while Michael stays in the car. Sensing the danger, Sullivan escapes the diner through the bathroom window and slashes Maguire's tires before driving away.

Sullivan begins robbing the banks that hold the Outfit's money; in so doing, he hopes to pressure the Outfit into withdrawing their protection from Connor. Sullivan teaches Michael to drive so that he can act as a getaway driver. The mob withdraws money from its banks, frustrating Sullivan's plan. He visits Rooney's accountant, Alexander Rance. Rance stalls Sullivan until Maguire enters with a shotgun. Rance is killed in the crossfire before Sullivan wounds Maguire and escapes with Rooney's ledgers. During the escape, Maguire shoots Sullivan in the shoulder. Michael drives them to a farm after Sullivan collapses from his wound, and an elderly childless husband and wife at the farm help him recover.

The ledgers reveal that Connor has been embezzling from his father. Believing that Rooney will call off the hit on him if he knows the truth, Sullivan heads back to Chicago. Sullivan confronts Rooney at Mass and finds Rooney already knows that Connor has been robbing him. Rooney states that he expects that Connor will either be killed by Sullivan or be killed by Nitti's men after Rooney has died. Nevertheless, Rooney refuses to give up his son. He urges Sullivan to flee with Michael and raise him to be a better man than either of them are. Sullivan later ambushes and kills Rooney's bodyguards and then Rooney himself. Nitti reveals Connor's location after Sullivan promises that the feud will end with Connor's death. Sullivan goes to the hotel where Connor is hiding and kills him.

Sullivan takes Michael to his aunt's beach house in Perdition. Once there, he is ambushed and shot by Maguire inside the house as Michael stands on the beach. Michael appears and points a gun at Maguire, and Sullivan fatally shoots Maguire in the back. Michael tells his father that he could not pull the trigger, and Sullivan nods and smiles as he dies in his son's arms.

Michael drives the car back to the elderly couple's farm. In a voiceover, he says that he grew up there. He adds that he has not held a gun since his father's death. Michael states that when he is asked if his father was a good man, he simply answers, "He was my father".

Cast

[edit]

Production

[edit]

Development

[edit]

WhenMax Allan Collinswrote the graphic novelRoad to Perdition,his book agent saw potential in the story as a film adaptation and showed it to a film agent.[4]By 1999, the novel had reached Dean Zanuck, who was the vice president of development at the company owned by his father, producerRichard D. Zanuck.The novel was sent to the elder Zanuck in Morocco, who was there producingRules of Engagement(2000). The Zanucks agreed on the story's prospect and sent it to director-producerSteven Spielberg.Shortly afterward, Spielberg set up the project at his studioDreamWorks,though he did not pursue direction of the film due to his full slate.[5]

Sam Mendes sought a new project after completingAmerican Beauty(1999) and explored prospects includingA Beautiful Mind,K-PAX,The Shipping News,[6]andThe Lookout.DreamWorks sent MendesRoad to Perditionas a prospect, and Mendes was attracted to the story, considering it "narratively very simple, but thematically very complex".[5]He specified one theme being the parents' world is inaccessible to their children. Mendes considered the story's theme to be about how children deal with violence, and whether exposure to violence would render children violent themselves. Mendes described the script as having "no moral absolutes", a factor that appealed to the director.[7]

Writing

[edit]

Spielberg first contacted screenwriterDavid Selfto adapt the story into a feature film.[5]Self wrote an initial draft that remained close to the source material and retained most of its dialogue. The screenplay was then rewritten by uncredited writers, distancing the script from the graphic novel but leaving the core elements of the story intact.[4]Some of the harsher aspects of the story were toned down as the script became more streamlined; for example, in some early drafts of the screenplay, Sullivan became analcoholic,but this element was ultimately absent from the final version.[5]

The story is deeply informed by theLone Wolf and Cubmangaseries. Novelist Max Allan Collins acknowledged the influence ofLone Wolf and Cubon his graphic novelRoad to Perditionin an interview to the BBC, declaring that "Road To Perditionis 'an unabashed homage' toLone Wolf and Cub".[8]

Some characters' names were slightly changed from their original versions from the graphic novel: the surname of the real-life gangstersJohn Looneyand his son Connor were changed to Rooney, and the surname of Tom Hanks' character and his family was streamlined from the original O'Sullivan to simply Sullivan. One significant addition to the script was the creation of Maguire to provide a persistent element of pursuit to the Sullivans' departure from the old world.[4]

Hanks and cinematographerConrad Hallrequested Mendes to limit violence in the film to meaningful acts, rather than gratuitous carnage. Hanks' character, Michael Sullivan, is known as "The Angel of Death" in the graphic novel and invokes fear in those around him, but his infamy is downplayed in the film.[7]Mendes, who described the graphic novel as "much more pulpy", sought to reduce the graphic novel's background to its essence, seeking the "nonverbal simplicity" of films likeOnce Upon a Time in America(1984),Pat Garrett and Billy the Kid(1973),[5]and films byAkira Kurosawathat lack dialogue.[9]Duplicate language in characters' confrontations inRoad to Perditionwas trimmed to the absolute minimum.[10]Mendes describedRoad to Perditionas a "poetic, elegiac story, in which the pictures tell the true story".[6]An example of one such unspoken scene in the film was the piano duet between Rooney and Michael Sr., intended to convey their relationship without words.[10]In the final 20 minutes ofRoad to Perdition,the script was written to have only six lines of dialogue.[6]

Max Allan Collins originally wanted to write the adapted screenplay, but was not given the opportunity.[4]He chose to stay out of the scripting process out of respect for the different style of writing for a different medium, though he served as a consultant in the process. Collins praised the addition of Maguire and considered the minimalist use of dialogue to be appropriate.[11]The author also applauded the film's version of Rooney as "more overtly a father figure" to Sullivan.[4]

Collins opposed the profanity in the script, as the vulgar language did not fit his vision of the 1930s.[11]He also contested the path of Sullivan's son in the film. In the graphic novel, the son kills once, and in the film, he does not kill anyone. Collins also disagreed with the narration technique of the film. In the novel, the son narrates the story as an adult, becoming a priest, while in the film, he narrates while still a young boy.[12]

Casting

[edit]

Tom Hanks was sent a copy of the graphic novel bySteven Spielbergwhile he was filmingCast Away.Initially too busy to make sense of the story, he later received David Self's adapted screenplay, to which he became attached. Hanks, a father to four children, described Michael Sullivan's role, "I just got this guy. If you're a man, and you've got offspring... emotionally, it's devastating."[5]

Tyler Hoechlin was chosen from over 2,000 candidates to portray Michael Sullivan's son.[5]The actor was 13 years old at the time of filming. For scenes in which Hoechlin's character assisted his father as a getaway driver, Hoechlin was trained by a driving instructor.[13]

Paul Newman was unanimously the first choice for the role of John Rooney.[6]The actor prepared by requestingFrank McCourt,the Irish-American author ofAngela's Ashes,to record a tape of his voice.[5]

David Self, who created the Maguire character, explained, "He gets so jaded from exposure to this world, he steps over the line from being the storyteller to being the story maker."[9]To capture the "seedy countenance" of the character, Jude Law was given a sallow skin tone that reflected the wear from working in a darkroom. Law's teeth also received a lower gumline and had a rotted look.[13]He was also given a weak, thinning hairline. Maguire's apartment also displays a collection of photographs of dead bodies, some of them actual police stills from the 1930s.[14]

Stanley Tucci was selective about roles in gangster films, believing that Hollywood stereotypedItalian-Americansas gangsters. However, attracted by the prospect of working with Mendes, the actor accepted the role of Nitti, a real-life Mob boss from Chicago.[15]

Anthony LaPagliawas cast as Al Capone and filmed a single scene, which was omitted from the final cut,[16]and can be found in the DVD's deleted scenes.[17]Mendes believed that Capone was more menacing as an unseen presence. ActorAlfred Molinawas approached to portray Capone, but Molina was forced to turn the role down due to scheduling conflicts withFrida(2002).[18]

Filming

[edit]

Mendes sought to produce aperiod filmthat would avoid clichés in the gangster genre. He chose to filmRoad to Perditionon location in Chicago, IL including downtown at the University Club of Chicago, theChicagoneighborhood ofPullman,theCharles G. Dawes HouseinEvanston, Illinois,as well as the far west Chicago suburb ofGeneva,Illinois.General Jones Armory,the state's largest location mainstay which houses units of theIllinois National Guard,was provided to the studio by the Illinois State Film Commission. Sets were built inside the armory, including interiors of the Sullivan family's home and the Rooney mansion. The availability of an inside location provided the crew complete control over the lighting environment, which was established with the rigging ofscaffoldings.[19]

Atmospherically, the landscape is a violent and magnificent canvas on which is told a mythic story of a father and son in the last period of lawlessness in American history.

Sam Mendes[19]

Mendes collaborated with costume designer Albert Wolsky, production designerDennis Gassner,and cinematographerConrad Hallto design the film's style. Wolsky designed costumes that were "very controlled, with soft outlines and very soft silhouettes." Gassner built sets that could capture the cold look of the era. Mendes sought a muted palette for the film, having dark backgrounds and sets with dark, muted greens and grays. Mendes filmedRoad to Perditionusing theSuper 35format.[19]

The director filmed exterior scenes in Illinois in the winter and the spring of 2001, using real weather conditions such as snow, rain, and mud for the scenes. Mendes considered the usage of bleak weather conditions and the intended coldness of Gassner's exterior locations to define the characters' emotional states. Pullman became a key location to reflect this theme, having several settings, including the town's historic Florence Hotel, easily redressed by the crew for the film.[19]Filming concluded in June 2001.[5]

Cinematography

[edit]
Cinematographer Conrad Hall set up atmospheric lighting similar to that found in the paintings ofEdward Hopper

To establish the lighting of scenes inRoad to Perdition,Mendes drew from the paintings ofEdward Hopperas a source of inspiration, particularly Hopper'sNew York Movie(1939). Mendes and cinematographerConrad Hallsought to convey similar atmospheric lighting for the film's scenes, applying a "less is more" mantra.[20]Hall also shot at wide apertures that retained one point in thedepth of fieldsharply focused. Hall considered the technique to provide an emotional dimension to the scenes. The cinematographer also used unconventional techniques and materials to create unique lighting effects. One of Hall's methods was to use black silk in daylight exterior scenes to filter the light enough to create an in-shade look.[19]

Hall purposely distanced the camera from Hanks' character, Michael Sullivan Sr., at the beginning of the film to establish the perspective of Sullivan's son, who is unaware of his father's true nature.[5]Hanks's character was filmed as partially obscured and seen through doorways, and his entrances and exits took place in shadows. A wide lens was used to maintain a distance from the character.[19]

Shots in the film were drawn directly from panels in the graphic novel, illustrated by Richard Piers Rayner. An instance of the direct influence is the scene in which Michael Jr. looks up at the Chicago skyline from the vehicle, with the skyline reflected in the vehicle's glass.[9]

A seamless 40-second driving scene, in which Michael Sullivan and his son travel into Chicago from the countryside, was aided by visual effects. The live-action part of the scene was filmed atLaSalle Street,and due to the lack of scenery for part of the drive down LaSalle Street, the background of Balbo Drive was included with the use of visual effects.[21]

Music

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Main article:Road to Perdition (soundtrack)

Themes

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Consequences of violence

[edit]

[What's] important, in this story, is what the violence does to the person who pulls the trigger, and what it has done to them over the years, how it has gradually corroded them. It has rotted their insides.

Sam Mendes[10]

The film's title,Road to Perdition,is both Michael Sullivan and his son's destination town and a euphemism forHell,a road that Sullivan desires to prevent his son from traveling. Sullivan, who chooses his violent path early on in life, considers himself irredeemable and seeks to save his son from a similarfate.Said Mendes, "[Sullivan] is in a battle for the soul of his son. Can a man who has led a bad life achieve redemption through his child?"[22]Hanks described Sullivan as a man who achieved a comfortable status through violent means, whose likely repercussions he ignored. Sullivan is a good father and husband, but also has a job that requires him to be a violent killer. The film explores this paradoxicaldichotomy.When Sullivan is faced with the consequences, Hanks says, "At the moment we're dropped into the story, it is literally the last day of that false perspective."[14]To keep Sullivan from justifying his violent actions in the film, Mendes omitted scenes in the final cut that had Sullivan explaining his background to his son.[5]

In the film, most of the numerous acts of violence are committed off-screen. The violent acts were also designed to be quick, reflecting the actual speed of violence in the real world. The focus was not on the direct victims of the perpetuated violence, but the impact of violence on the perpetrators or witnesses to the act.[10]

Fathers and sons

[edit]

The film also explores father-son relationships between Michael Sullivan and his son, Sullivan and his boss, John Rooney, and between Rooney and his son Connor. Sullivan simultaneously idolizes and fears Rooney, and Sullivan's son feels the same about his own father. Rooney's son, Connor, has none of Sullivan's redeeming qualities, and Rooney is conflicted about whom to protect: his biological son or his surrogate son. Connor is jealous of his father's relationship with Sullivan, which fuels his actions, ultimately causing adomino effectthat drives the film.[14]

Because Sullivan shields his background from his son, his attempt to preserve the father-son relationship is actually harmful. Tragedy brings Sullivan and his son together.[23]Sullivan escapes from the old world with his son, and the boy finds an opportunity to strengthen the relationship with his father. Tyler Hoechlin, who portrayed Michael Jr., explained, "His dad starts to realize that Michael is all he has now and how much he's been missing. I think the journey is of a father and son getting to know each other, and also finding out who they themselves are."[14]

Rain

[edit]

Rain served as amotifin the film. It was developed after researching the wake scene at the beginning of the film informed the director that corpses were kept on ice in the 1930s to keep bodies from decomposing. The notion was interwoven into the film, which linked the presence of rain with death.[13]Mendes reflected on the theme, "The linking of rain with death... speaks of the mutability of rain and links to the uncontrollability of fate. These are things that humans can't control."[13]

Release

[edit]

With filming concluding in June 2001, the studio intended a United States release for the following Christmas. However, in September 2001, Mendes requested more time. It was rescheduled for release on July 12, 2002, an unconventional move that placed the drama among the action-oriented summer films.[5]

Home media

[edit]

Max Allan Collins,who authored the graphic novel, was hired to write the novelization for the film adaptation. Collins initially turned in a draft that contained 90,000 words, but the licensing atDreamWorksrequired the author to use only the dialogue from the film and no additional dialogue. Collins reluctantly edited the novelization down to 50,000 words and later said he regretted taking on the task.[11]In 2016,Brash Bookspublished Collins' original version of the novelization asRoad to Perdition: The New, Expanded Edition.[24]

Road to Perditionwas released onDVDon February 25, 2003, in both full screen andanamorphic widescreenversions. The DVD's features included an audio commentary, deleted scenes, anHBO"Making of" documentary, and a photo gallery.[25]Work on the DVD began on the same day the film's production began, and a collaborative effort among the director, the studio, and the DVD production crew shaped the DVD's content. Due to a limit of space on the DVD, the film's deleted scenes were chosen over aDTSsoundtrack. Instead, the DVD included aDolby Digital5.1 soundtrack.[26]A special edition DVD containing both DTS and Dolby Digital 5.1 soundtracks was also released, excluding the "Making of" documentary to fit both soundtracks.[27]

Road to Perditionwas released onBlu-ray Discon August 3, 2010, featuring a widescreen transfer, aDTS-HD Master Audio5.1 soundtrack, and all of the features from the DVD release.[28]

Reception

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Box office

[edit]

Road to Perditionopened in 1,798 theaters in its debut weekend, competing against several other new releases includingReign of Fire,Halloween: ResurrectionandThe Crocodile Hunter: Collision Course.It ended up grossing $22.1 million, placing second to holdoverMen in Black II.[29]The film then beatMen in BlackandStuart Little 2to reach the number one spot during its second weekend with $15.4 million.[30]It eventually grossed $104.5 million in the United States and $76.5 million in other territories for a worldwide total of $181 million.[1]

Critical response

[edit]

Road to Perditionreceived positive reviews from critics, with Conrad L. Hall's cinematography, the production design, and the lead performances of Hanks and Newman being praised. Review aggregation websiteRotten Tomatoesgives the film an approval rating of 81% based on 216 reviews, with an average rating of 7.5/10. The site's critical consensus reads, "Somber, stately, and beautifully mounted, Sam Mendes'Road to Perditionis a well-crafted mob movie that explores the ties between fathers and sons. "[31]Metacriticassigned the film a weighted average score of 72 out of 100, based on 36 critics, indicating "generally favorable reviews".[32]Audiences polled byCinemaScoregave the film an average grade of "B+" on an A+ to F scale.[33]

Roger Ebertof theChicago Sun-Timespraised Hall's cinematography and the thematic use of water. He, too, felt an emotional detachment from the characters, saying, "I knew I admired it, but I didn't know if I liked it... It is cold and holds us outside."[34]

Kirk Honeycutt ofThe Hollywood Reporterpraised Hanks, Newman, and Craig but called Law's performance "almost cartoonish".[35]Peter TraversofRolling Stonealso complimented Hanks and Newman: "[They] act together with the confidence of titans, their talents in the service of character, never star ego." Travers cited Hall's "breathtaking" cinematography and composerThomas Newman's "evocative" score.[36]

Paul ClintonofCNNsaid: "While these deeply human issues are touched upon, they're never fully explored, and that undermines the sense of greatness to which this movie obviously aspires." Clinton considered Craig's character "one-dimensional to the extreme". He found the cinematography too overpowering for the film's storyline, which he considered "weak".[37]J. Hoberman ofThe Village Voicedescribed the film as "grim yet soppy". He added: "The action is stilted and the tabloid energy embalmed."[38]Stephen Hunter ofThe Washington Postthought that the script lost its path when Sullivan and his son fled their old life.[39]

Eleanor Ringel Gillespie ofThe Atlanta Journal-Constitutionenjoyed the film's cinematography and Depression-era setting, as well as the performances of Hanks and Newman. Gillespie expressed the wish that the film lasted a little longer to explore its emotional core further.[40]Eric Harrison of theHouston ChronicleconsideredRoad to Perdition"the most brilliant work in this [gangster] genre" since the uncutOnce Upon a Time in America(1984). Harrison considered Self's script "so finely honed that the story can change directions in a heartbeat."[41]

Accolades

[edit]
Award Category Recipient Result
Academy Awards[42] Best Supporting Actor Paul Newman Nominated
Best Art Direction Dennis GassnerandNancy Haigh Nominated
Best Cinematography Conrad L. Hall(posthumous) Won
Best Original Score Thomas Newman Nominated
Best Sound Scott Millan,Bob BeemerandJohn Pritchett Nominated
Best Sound Editing Scott Hecker Nominated
British Academy Film Awards[43] Best Actor in a Supporting Role Paul Newman Nominated
Best Cinematography Conrad Hall(posthumous) Won
Best Production Design Dennis Gassner Won
Golden Globe Awards Best Supporting Actor – Motion Picture Paul Newman Nominated
American Society of Cinematographers[44] Outstanding Achievement in Cinematography Conrad Hall(posthumous) Won
Critics' Choice Movie Awards Top 10 Films 5th place
Best Picture Nominated
Best Supporting Actor Paul Newman Nominated
Best Young Performer Tyler Hoechlin Nominated
Saturn Awards Best Action/Adventure/Thriller Film Won
Best Young Actor Tyler Hoechlin Won

In April 2006,EmpirerecognizedRoad to Perditionas No. 6 on its list of the top 20 comic book films.[45]

References

[edit]
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  2. ^"Road to Perdition (2002) - Financial Information".The Numbers.Retrieved27 January2021.
  3. ^"Winners: Big upsets".Detroit Free Press.24 March 2003. p. 21.Archivedfrom the original on 3 October 2022.Retrieved3 October2022– viaNewspapers.com.Open access icon
  4. ^abcdeSingh, Arune (16 June 2002)."Just The Facts Ma'am: Max Collins Talks 'Road To Perdition'".Comic Book Resources.Archived fromthe originalon 18 October 2015.Retrieved6 June2007.
  5. ^abcdefghijklJeff Jensen (19 July 2002)."Killer Instinct".Entertainment Weekly.Archived fromthe originalon 13 April 2014.Retrieved6 June2007.
  6. ^abcdWloszczyna, Susan (12 July 2002)."Power trio hits the 'Road'".USA Today.Retrieved6 June2007.
  7. ^abStax (24 January 2002)."Rumblings on 'The Road to Perdition'".IGN.Retrieved6 June2007.
  8. ^Allan Collins, Max. Interviewed by Daniel Etherington,"Graphic Novel: 'Road To Perdition'".Retrieved22 June2008..BBC Collective.2002-09-19.
  9. ^abcTeofilo, Anthony."On the Road to Perdition".ASiteCalledFred.Archived fromthe originalon 15 May 2010.Retrieved24 April2010.
  10. ^abcdLyman, Rick (15 September 2002)."So, as Paul said to Tom..."The Guardian.London.Retrieved24 April2010.
  11. ^abcSingh, Arune (7 August 2002)."COLLINS' 'ROAD' TO THE FUTURE".Comic Book Resources.Archived fromthe originalon 24 September 2015.Retrieved6 June2007.
  12. ^Duerson, Adam (17 July 2002)."'Road' Warrior ".Entertainment Weekly.Archived fromthe originalon 20 February 2009.Retrieved7 June2007.
  13. ^abcd"Circa 1931"Archived2007-06-15 at theWayback Machine.Production Notes.Road to Perdition(2002). Retrieved 2007-06-06.
  14. ^abcd"Fathers & Sons"Archived2007-06-15 at theWayback Machine.Production Notes.Road to Perdition(2002). Retrieved 2007-06-06.
  15. ^O'Connor, Clint (7 July 2002). "Out of Season".The Plain Dealer.
  16. ^"Capone chats with Max Allan Collins about why he isn't in ROAD TO PERDITION!!!".Ain't It Cool News.26 April 2002.Retrieved6 June2007.
  17. ^Woodward, Tom."Road to Perdition: DTS Edition".DVDActive.com.Archived fromthe originalon 28 March 2012.Retrieved12 June2007.
  18. ^Henerson, Evan (15 January 2002). "The Understudy".Los Angeles Times.
  19. ^abcdefZone, Ray (August 2002)."Emotional Triggers".American Cinematographer.Retrieved6 June2007.
  20. ^Ray Zone."A Master of Mood".American Cinematographer.Retrieved6 June2007.
  21. ^Heuring, David."Effecting a Key Transition".American Cinematographer.Retrieved6 June2007.
  22. ^"Taking the Road". Production Notes.Road to Perdition(2002). Retrieved 2007-06-06.
  23. ^Sperling Reich, J."American 'Perdition'".Archived fromthe originalon 14 October 2007.Retrieved25 July2007.
  24. ^"Richer Version of Road to Perdition is Released".Retrieved11 July2017.
  25. ^"Road to Perdition – DVD Preview".IGN.27 November 2002.Retrieved10 June2007.
  26. ^"Mark Rowen – DVD Producer of Road to Perdition".DVD Reviewer.19 March 2003.Retrieved12 June2007.
  27. ^Conrad, Jeremy (26 February 2006)."Road to Perdition – DVD Review".IGN.Retrieved12 June2007.
  28. ^Road to Perdition Blu-ray,retrieved19 March2023
  29. ^"July 12–14, 2002 Weekend".Box Office Mojo.IMDb.Retrieved24 April2010.
  30. ^Gray, Brandon (22 July 2002)."'Road to Perdition' Squeaks Past 'Stuart Little 2' in Photo Finish ".Box Office Mojo.Archivedfrom the original on 15 May 2023.Retrieved15 May2023.
  31. ^"Road to Perdition".Rotten Tomatoes.Flixster.Retrieved24 April2010.
  32. ^"Road to Perdition".Metacritic.CBS Interactive.Archived fromthe originalon 10 May 2010.Retrieved24 April2010.
  33. ^"Find CinemaScore"(Type "Road to Perdition" in the search box).CinemaScore.Retrieved27 January2021.
  34. ^Ebert, Roger (12 July 2002)."Road to Perdition".Chicago Sun-Times.Archived fromthe originalon 7 September 2012.Retrieved25 July2007.
  35. ^Honeycutt, Kirk (1 July 2002)."Road to Perdition".The Hollywood Reporter.Archived fromthe originalon 30 September 2007.Retrieved25 July2007.
  36. ^Travers, Peter (1 August 2002)."Road to Perdition: Review".Retrieved24 April2010.[dead link]
  37. ^Clinton, Paul (11 July 2002)."Review: 'Road to Perdition' scenic trip nowhere".CNN.Archived fromthe originalon 6 November 2007.Retrieved25 July2007.
  38. ^Hoberman, J. (10 July 2002)."Industrial Symphony".The Village Voice.Retrieved24 April2010.
  39. ^Hunter, Stephen (12 July 2002)."Bedeviled by The Details In 'Perdition'".The Washington Post.Archived fromthe originalon 16 November 2018.Retrieved25 July2007.
  40. ^Eleanor Ringel Gillespie."Road to Perdition".The Atlanta Journal-Constitution.Archived fromthe originalon 12 February 2006.Retrieved25 July2007.
  41. ^Harrison, Eric (12 May 2004)."Road to Perdition".Houston Chronicle.Archived fromthe originalon 14 October 2007.Retrieved1 January2011.
  42. ^"75th Academy Award Nominees and Winners".Oscars.org.Archived fromthe originalon 3 July 2008.Retrieved20 May2007.
  43. ^"'Pianist,' Kidman win BAFTAs ".CNN.24 February 2003.Retrieved24 April2010.
  44. ^"ASC 17th Annual Awards – 2002".TheASC.org.Archived fromthe originalon 9 June 2008.Retrieved20 May2007.
  45. ^"The 20 greatest comic book movies of all time".Empire:98–103. April 2006.Retrieved1 January2011.

Further reading

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