Tom Hanks gives another iconic performance in Road to Perdition, directed by Sam Mendes (of American Beauty fame). Based on the graphic novel by Max Allan Collins and Richard Piers Rayner, this film presents a moral puzzle. A puzzle in which hit man Michael Sullivan (Hanks) worries that his oldest son may follow in his footsteps. Michael belongs to a crime organization run by respected gangster John Rooney (Paul Newman). Following the murders of his wife and youngest son, Michael branches out on his own, with full intentions of finding Connor Rooney (Daniel Craig), his former friend and the man who killed his family. To make things harder for the organization, Sullivan robs banks with the assistance of his only surviving son, Michael Jr. (Tyler Hoechlin). The money they steal belongs to Al Capone (never seen on screen), whose right hand man Frank Nitti (Stanley Tucci) has bodyguards protecting Connor.

Seeing Jude Law play against type as the photographer/assassin hot on the heels of the Sullivans works to wondrous effect here. In my opinion, a new gold standard has been set with Road to Perdition. A more accomplished effort than Mendes’ first picture, the sense of atmosphere consistently dazzles. In particular, one sequence set in a rain-soaked street at night has virtually no sound effects except for Thomas Newman’s inspirational score.

Cameraman Conrad L. Hall (Butch Cassidy and the Sundance Kid) finds beauty in the darkness. The way that light and shadow work together in this film heightens the sense of mystery. Hall’s visual style (reminiscent of painter Edward Hopper) also adds a rare, yet constantly evolving tone to what is essentially a dark story. Yet, without becoming listless or hopeless, the cinematography enforces the idea that light cannot exist without shadow, and even in the deepest pit, hope can still thrive. 

Some may accuse Hanks of being too moody at first. An early scene in which he fails to acknowledge his oldest son may challenge certain viewers to feel any connection with him. That idea quickly vanishes away into the mist as you will see. For a character so morally compromised, Hanks shows remarkable versatility and depth of feeling. Through the smallest gestures, he creates a human being and not a monster with a hollow moral center.

Paul Newman fulfills every demand that the part of gangster John Rooney requires of him. He expresses the hurt that only a father could feel when confronting Daniel Craig about the two murders. Like Hanks, his achievement involves making human that which should be heinous. This may be the greatest supporting part of Newman’s career.

The editing is strong with Jill Bilcock making decisions based on character, emotion, rhythm and logic. Her work easily outshines the million cuts she made in Baz Luhrmann’s Moulin Rouge (2001).

Whether viewed as a morality play, gangster piece or character study, Road to Perdition culminates in the fusion between art and content. In short, Mendes delivers a minor masterpiece.

(Released by DreamWorks and rated “R” for language and violence.)