Film

Winslet and DiCaprio Shine in 'Revolutionary' Drama


Revolutionary Road

Director: Sam Mendes
Cast: Leonardo DiCaprio, Kate Winslet, Kathy Bates, Michael Shannon, David Harbour, Kathryn Hahn
MPAA rating: R
Studio: Paramount Vantage
First date: 2008
UK Release Date: 2009-01-30 (General release)
US Release Date: 2008-12-26 (Limited release)

As long as they had Paris, they had hope. Actually, as frustrated suburban housewife April Wheeler would later reveal, it didn't have to be the famed City of Light. Anywhere other than the stifling outskirts of reality known as Connecticut would have been just fine. When they first met, April and her husband Frank connected like all post-war couples did. She was lured to his solider boy sense of overseas adventure. He saw stability and blossoming homespun sexuality. Together, the formed the seemingly perfect veneer of American Dream determination. But somewhere along the route to their white picket fence home on Revolutionary Road, the Wheelers got sidetracked. The resulting diversion left them shattered, disenchanted, and barely alive.

Thus we have the setup for Richard Yates devastating novel named after the infamous avenue, and Sam Mendes return to post-Jarhead prominence. We follow April and Frank as they meet, make love, get married, and take a home outside the sprawling metropolis of Manhattan. After years living the nuclear fantasy, she feels trapped. Relocating to Europe will be the spark that reignites their previous passion, and at first, her husband agrees. But as he falls into an easy affair with a member of the typing pool, and sees his fortunes at working failing upward, Frank no longer "feels" France. Instead, he wants to stay in the states and have another baby. This devastates April, who must resort to extreme measures to keep her own hopes and dreams alive.

Apparently, in order to enjoy Mendes take on Revolutionary Road, you have to (a) have never read the Yates' book it is based on, (b) never watched an episode of AMC's au courant revisionist hipster drama Mad Men, and (c) believe the filmmaker's previous Oscar winning effort, American Beauty, was not some award season anomaly. Add in the "isn't that cute" conceit of having three members of James Cameron's Titanic back onscreen (Kate Winslet, Leonardo DiCaprio and Kathy Bates) and the pedigree everyone involved provides, and you're either drunk on the idea of the film, or failing to see the true mess that Mendes has made. Actually, none of this is true. In a season which sees underage sex with war criminals celebrated and old racists made warm and fuzzy, Revolutionary Road stands as a bold bit of filmmaking. It's not always pleasant, but then again, neither is life.

At its core, Mendes has made a movie about why couples fall apart. This isn't some new or novel statement about how Eisenhower era marrieds managed the ennui of a sheltered, socially acceptable existence. It's not the precursor to the Swinging '60s or the rationale for the upcoming sexual revolution, civil rights movement, or any other protracted activism. Instead, what screenwriter Justin Haythe gets out of Yates' book is the basis for how love leaks out and slowly dissipates. With bravura work from Winslet and DiCaprio, almost every conversation between April and Frank devolves into a shouting match of unspoken horrors and simmering dissatisfaction. Many of these sequences leave the viewer breathless, their truth and honesty about as soul searching and bearing as cinema gets.

But there is more than just arguments here. Revolutionary Road stages the preamble for a kind of upheaval, even if it isn't strongly social or political. Within each person lies a series of disappointments and unrealized dreams. Mendes makes this the nucleus of his film, following two people as they destroy who they want to be in order to preserve what they think they are. We never really see the Wheelers as a family unit. Kids are always shuttered to the side (oddly enough, their first appearance onscreen is shocking since Mendes doesn't portray Frank or April as parent material) and friendly neighborhood get-togethers become the fodder for that night's bickering. Neither partner wants to work - April's pipe dream derives from the "outrageous" wages paid to European civil servants while Frank has to "find" himself. But the need to conform matched with the desire to drop out sets up something seismic in their household. When the façade cracks, the quake is truly crushing.

In a movie overloaded with amazing performances, three stand out. DiCaprio has finally "grown up" onscreen, dropping any of this youthful primping and performance preening to become a true, legitimate leading 'man'. He looks perfectly comfortable in his gray flannel suit situation. Winslet is radiant as a bohemian broken by the Stepford sense of purpose around her. She can make a happy home, but would much rather have a fulfilled life. Balancing said need within the parameters of a patriarchal three martini and beefsteak setting is the actress's trained tour de force. She is simply stunning at times. And then there's Bates, bringing down her dowager immenseness to play opinionated if outside. She's the kind of fussy, frightened mouse/spouse who talks a good game, but can't keep her own business tidy.

Speaking of her issues, Bates is blessed with a schizophrenic son who speaks as the forward thinking voice of a future blank generation. Played with Oscar worthy aplomb by an amazing Michael Shannon, John Givings is a nonconformist in every facet of the word. During a critical sequence in the woods, a walk with April and Frank turns into something so remarkable that you feel your heart literally skip a beat - and John's line about life is enough to start an entire subculture all its own. It's these kinds of nuanced bits that seem to fall freely from Mendes vision. When we see Frank shacking up with his temporary secretary, her Bettie Page pertness reminds us of the erotic explosion to come, and his coworkers cut a swath across the entire dynamic of last gasp machismo.

Yet it’s the overall interaction and intenseness of Revolutionary Road that turns it from a neverending episode of the Bickersons into motion picture mastery. The fights between our main characters do come across as cruel and manipulative, but they ring with a kind of brash authenticity that's hard to shake. And even as the storyline slow burns toward its tragic ending, inevitable and yet inexcusable, we drink in the directorial beauty and pitch perfect performances. Mendes may be the current revisionist whipping boy for a geek nation convinced that Beauty beat the rest of 2000's competition based on some manner of industry fix. Yet it's impossible to deny his execution here. From cast to conclusion, Revolutionary Road is fate funneled through a true artist's muse. It's one of 2008's very best.

And by the way, Paris would not have saved the Wheelers. Nothing could.

10

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.


In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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