Welcome to Manchester Confidential
Reset Password
The Confidential websites will be undergoing routine updates. This may cause the sites to go offline. We apologise in advance for any inconvenience.

You are here: Manchester ConfidentialEntertainment & SportCinema.

The Road (15)

Jonathan Schofield on a fabulous tale of bleakness, compassion, horror and hope

Written by . Published on January 11th 2010.

The Road (15)

Whenever I feel too content I reach for a Cormac McCarthy novel. If there is redemption or joy in the American's books you have to wade through swamps of pain before you find them. Yet McCarthy is the modern genius of uncompromising tale weaving in English.

So it comes down to the love for the father from the son and the love for the son from the father. This is the key upon which the film and the novel turns: that in a world of utter horror and degradation the greatest human gift, compassion, still burns.

He employs certain tactics to achieve this. He cuts out all the slack, he writes without speech marks and the speech merges with the description and the narrative. Yet the ear becomes attuned through the skill with which it is done. The result is something rhythmic, lyrical and always epic. The Road, from 2006, is the model McCarthy book.

John Hillcoat, the director of The Road, the movie, has done a nigh-perfect job in capturing all these qualities of spareness, of rhythm, of being epic. He also captures the atmosphere of McCarthy's bleak and gripping vision.

The story is set years after some disaster, resulting in a nuclear winter where nothing grows and all animal and plant life has died. Most of the remaining human population has become brutalised, predating on each other, as stocks of preserved or canned food dwindle. Marauding groups of desperate hunters trap other humans to cannibalise. Women give birth to babies so they can eat them. But an unnamed man and boy, refuse these 'inhuman' choices, and journey south, to where - largely without expectation on the man's side - they seek a milder climate and some sort of salvation.

One of McCarthy's virtues, and the film captures this, is to explain nothing which the characters can't explain. So when the pair find some brief shelter with food and security, they don't know how the place came to be left unused so we're not told. As for the disaster that led to this horror filled world, there is no clue to its origin, whether it was caused by humans or nature. This makes sense for the man and the boy, because the reasons, simply don't matter anymore, all that matters is food and warmth and each other.

Especially each other. McCarthy describes the relationship between the father and his son as 'each other's world entire'. This where the heart-wrench lies. This is why the pair need no names because they are all they have left. This is where the mother (Charleze Theron) fails. In flashbacks we learn that the struggle to live an impoverished existence with probable slaughter at its conclusion made her lose all hope. One night she walked away to die in the cold.

So it comes down to the love for the father from the son and the love for the son from the father. This lies at the core of The Road: that in a world of utter horror and degradation the greatest human gift, compassion, still burns. “The fire”, as the pair describe it. There is one scene where the boy clings, weeping, from fear and starvation on his father's shoulders that is almost unbearable to watch with their love the only saving grace.

It is this that lies at the heart of their decision not to succumb to cannibalism: it makes them 'the good guys'. Yet the tough father, ground down by the daily, hourly, struggle needs the son as much as the other way round.

At the start of the movie he has just two bullets left. He is saving these to kill his son and himself if they look likely to be captured by the predators. When he loses a bullet in defending his child and feels illness overtaking him, his awful dilemma magnifies, and the knowledge that one day, very soon, he may have to kill the boy, makes him start to shed his humanity.

So twice he is reminded by the boy that his suspicion and doubt is making him lose the virtues that set him apart from the beast-like men all around. One traveller they meet, Robert Duvall, an old man who is no threat, calls the boy 'an angel'. This is part of the boy's role, reminding the man of innocence and sincerity and revealing the value of their struggle - making him recall that he is a 'good guy', otherwise all of it is meaningless.

The film is relentless, unbearable, but totally absorbing, until, at last, something remarkable happens for a McCarthy work. After the final utter heartbreak there is a chink of light. Not much light, a fool's hope perhaps, but in a world of winter we find some warmth with which to watch the credits rise.

The Road is the perfect apocalyptic movie. After being saturated by the advent of the CGI fall of civilisations from Independence Day through The Day After Tomorrow to 2012, The Road provides a far more potent and less teenage vision. There are no set-pieces in which a shattered White House burns, only a grey ash-blown winter of dirty woods, dead plains and scruffy burnt out towns. It convinces you that this is what it could be like.

Visit a cinema close to a bar or a pub if you intend to watch this movie: you might need a drink afterwards. It's a stunning movie: one where you can watch, the man, Viggo Mortensen, winning his best actor Oscar, and the boy, Kodi Smit-McPhee, winning his best supporting role Oscar in a not too distant, and – let's hope - not so difficult future.


The Road (15) is on general release now.

Like what you see? Enter your email to sign up for our newsletters which are chock-a-block with more great reviews, news, deals and savings.

9 comments so far, continue the conversation, write a comment.

Tracey BainesJanuary 11th 2010.

Brilliant film and superb review.

helenJanuary 11th 2010.

Went to see this and yes its very bleak but brilliant. Having read JS review it all makes total sense now, Thanks JS, hx

snJanuary 11th 2010.

nice one T Arnolds, beautifully put. has anyone read all his Border Trilogy?http://en.wikipedia.org/wiki/The_Border_Trilogythe rolling language, the plain speech, the almost fable-like set-ups, a deceptively simple organising style, he clearly has something going for him as a writer to understate hugely!

RobJanuary 11th 2010.

I have not seen the film yet, but I intend to do so.Everybody else seems to disagree with me but I thought that the book was rubbish. It is boring and repetitive and too much is left to the imagination, there is only a threadbare story which you have to embellish yourself.Even for darkness, bleakness and threat it could have been so much worse.

T ArnoldsJanuary 11th 2010.

I think sn the strength of The Road is that it is so straightforward and simple. I agree it's not the best McCarthy book in terms of complexity but it is very immediate and very shocking. I still like All the Pretty Horses best, indeed re-read it a couple of weeks ago. As for Rob maybe these books aren't for you as the writer in the review says: 'One of McCarthy's virtues, and the film captures this, is to explain nothing which the characters can't explain.' It's that integrity in the writing that I adore.

MikeJanuary 11th 2010.

Possibly the best book I've ever read, have been hoping the film doesn't disappoint and it seems not to have done, will be off to see for myself very soon

Karen HJanuary 11th 2010.

What a lovely review!!! I thought this film was horribly lovely if you know what I mean.

snJanuary 11th 2010.

@Rob i've not read The Road but Blood Meridian is generally agreed to be the best McCarthy book overall, worth a look, it is splendid (if violent)

The Fan of the ManJanuary 20th 2010.

Went to see this and yes its very bleak but brilliant. Having read JS review it all makes total sense now, Thanks JS, hx

To post this comment, you need to login.Please complete your login information.
Or you can login using Facebook.

Latest Rants

Poster Boy

Unlike the reviewer, most of the audience of this film will not have the back knowledge of Chris…

 Read more
Lesley Hampson

We went to the Mark Kermode gig at Bridgewater Hall last night His special guests were the…

 Read more
John Nuttall

Actually Jonathan, you're almost correct in your imagining of the big house full of broadcasters as…

 Read more
LaToya Bollinger

One of the greatest Horror movies to date. Daniel Radcliffe isn't really given a role that he can…

 Read more

Explore The Site

© Mark Garner t/a Confidential Direct 2021

Privacy | Careers | Website by: Planet Code | SEO by The eWord