“Why are you always smiling?”
“Cause it’s all so fucking hysterical.”
Hanks’ movies always have that impact on you—he creates a memory on your mind, you never forget that experience. The story of a man seeking revenge on his family and a parallel elaboration of a father-son relationship is how in concise terms one would summarise it. The latter is a beautiful theme; when it’s about a relationship and specially of parents and presented passionately, it never falls short of being a touching experience. And of the revenge, it must be accepted that it is one of the fundamental emotions in humans. Again, the passionate way, it feels necessary; but being cold-blooded, one would let it pass and let time lessen the feeling of grief and anger. That’s another ideology and it all depends what one chooses. Daniel Craig ‘s character is hysterically villainous, and he plays it well. Jude Law in the role of a necrophile murderer looks picture-perfect. I particularly liked the cinematography and the direction; the dry and morbid atmosphere created settles well with the plot and in harmony are the intermittent bright scenery of light and hope that runs for the in-parallel theme of a father-son relationship. There is also the underlined presence of two sons to a father (Craig and Sullivan to Rooney) and his differential treatment towards them. Loyalty, betrayal, loss, love and the two faces of a coin—all the subjects have been presented very clearly and with appropriate weight. One man who fosters love befitting a son’s for a father and kills for them becomes forced to kill the very man, such is the dilemma he faces while heading to Perdition. And finally comes a perfect end with an acute tragedy that impresses upon the only member left of the Sullivan family, Michael, an image of a father who he really came to know only in the last six weeks after half their family was murdered. And what does he think of him? Well, it is as he emphasised—he was his father.