Literature: Revolutionary Road
April Wheeler: You don't! Because you've never tried at anything. And if you don't try at anything you can't fail.
Frank Wheeler: What the hell do you mean I don't try? I support you, don't I? I pay for this house. I work ten hours a day at a job I can't stand.
April Wheeler: You don't have to.
Frank Wheeler: Bullshit! I'm not happy about it. But I have the backbone not to run away from my responsibilities!
April Wheeler: It takes backbone to lead the life you want, Frank.Once upon a time, two clean-cut American kids named Frank and April met, fell in love, and got married. They settled down in a Connecticut suburb near New York on Revolutionary Road and all lived happily ever after, right?Wrong.Years later, Frank Wheeler is an office drone and April is a housewife who tends to their two kids. They hate every minute of it. Things change when April suggests moving to Paris and start their existence anew. Their neighbors wonder why the hell they aren't happy with their lives. But then, Frank decides to take a promotion at work and starts to woo his secretary. April gets pregnant again. Let's just say things go downhill from here.This is the plot of the novel Revolutionary Road, which was written by Richard Yates, set in 1955, and published in 1961. In 2008, Sam Mendes directed a film version which starred his then-wife, Kate Winslet and Leonardo DiCaprio.
This work features examples of:
- Death by Childbirth: April, although it's more like "death-by-attempted-abortion"
- Development Hell: There have been attempts to adapt the book to the screen dating back to 1967.
- Domestic Abuse: Frank and Shep have hit and screamed at their wives.
- Downer Ending: April dies giving herself an abortion and Frank goes on to live unhappily ever after. Their unhappiness even affects their neighbors.
- Exiled to the Couch: April puts herself there, and Frank is less and less affected.
- The Fifties
- Good Girls Avoid Abortion: Frank partially relies on this so April won't abort his child.
- Here We Go Again: After all the angst in this film, this is implied as some new neighbors move in to the Wheelers' house.
- Is That a Threat?
- Mad Mathematician: John Givings, except he's also the Only Sane Man in a warped way. He's the only character who always says exactly what he feels and calls everyone else out on their hypocrisy. While he has a history of violence, the supposedly "sane" Frank and Shep have both hit / threatened their wives.
- Masochism Tango
- Milking the Giant Cow: Literary example - at one point, Frank puts down a glass so he can "make a gesture of impassioned earnestness." Of course, almost everything he and April do is some kind of performance.
- Moral Myopia: Frank Wheeler. He rudely dismisses the criticisms of Norma, who calls him out on being a Master of the Mixed Message to Maureen while also trying to be empathetic. He also confesses his affair just to get guilt off him and provoke a reaction from April and is puzzled why April really isn't bothered.
- Only Sane Man: In a strange sort of way, John. He's very aware about Frank and April's personal failings, isn't afraid to speak his mind and regularly calls out the other characters for their hypocrisy.
- Oscar Bait
- Punch a Wall: Frank almost hits April during an argument, but he restrains himself and hits the car instead.
- Smoking Is Glamorous: Gradually deconstructed over the course of the movie.
- Springtime for Hitler: The sarcastic ad campaign Frank throws together that he believes will get him fired, ends up getting him a promotion instead.
- Stepford Smiler: Mrs. Givings and Milly, and their husbands to a lesser extent.
- Stepford Suburbia
- "The Reason You Suck" Speech
- Wall Bang Her: Frank and April's sex scene in the kitchen, even though it's more against the countertop and cabinets rather than a wall.
- Your Cheating Heart: Frank has an affair with a secretary and April has a brief fling with Shep. Later, Frank explicitly invokes his affair just to get a reaction out of April. It doesn't work. She knows he's confessing it not out of nobility, but control.