Torn Curtain (1966)

4/5

The first half of Torn Curtain was absolutely amazing (Hitchcock at his best), while the second half was simply disappointing. The plot follows Michael Armstrong (Paul Newman), an American physicist during the Cold War who pretends to defect to gain nuclear secrets from a (much-smarter) Communist scientist there. His fiancée (Julie Andrews) has followed him against his will and unaware of his pretense.

The tension, the wit, and the romance in the first half were all there, and in just the right quantities. The characters were well-developed, and the acting stellar. Our hearts are with the protagonists every step of the way. The pacing and editing were extremely precise. The shots, as always, were incredible. The music, though not by Herrmann, was still riveting and a good accompaniment to the movie's mood. But the best part of the first half is that it contained one of the most incredible murder scenes ever committed to film--I was nearly breathless the entire time. This movie should be seen just for that one scene. The second half was marred by a meandering, overlong escape, the introduction of a million worthless side characters, and a complete lack of progression and build-up. I did like the very unexpected re-introduction of a very minor character from the first half of the movie, but that is pretty much it. Despite moments of tension, it just didn't build up to anything and bored me. I was just waiting for it to end. The finale has nothing on The Great Escape. Even with the problems in the second half, the first half is just too good not to recommend it.

IMDb link: http://imdb.com/title/tt0061107/

Road to Perdition (2002)

5/5

From start to finish, every frame of this film is jaw-dropping in its beauty. You will be stunned by the cinematography, which relegates the powerful script and precise acting to the back of your mind. Even so, it contains scenes of heart-stopping suspense to rival even Hitchcock's greatest works. It also manages to achieve a certain poignancy through Tom Hanks's quiet and restrained interactions with his son and equally quiet and restrained interactions with his father-figure (Paul Newman in a stellar performance, one of the best of his entire career).

The emotional impact of the film becomes somewhat muted due to its obligatory sense of fatalism, in the same vein as the film noirs of the 1940's. To me, the movie's cold, distant mood fits the piece exceptionally well. The terse manner in which the characters speak is also similar to noir, although the dialogue itself is vastly different (where those movies were flashy, Road to Perdition is earthy). Quite simply, it says all that needs to be said and nothing more.

Sam Mendes directs Road to Perdition with the same subtlety and artistic insight found in American Beauty, but the flourishes are more spectacular: A silent, slow-motion massacre in the rain that resembles a dance more closely than a murder, followed by the words "I'm glad it's you." A long take tracking Hanks as he shoots a man in his bathtub, the bright red blood on the white tile sharply contrasting with the pervading dark grey tones. You will remember these scenes; this movie is unforgettable.

IMDb link: http://imdb.com/title/tt0257044/