The Road begins by splicing together the nightmares of the past with the waking incubus of the present as Viggo Mortensens character leads his malnourished son a journey of survival in a world that has begun to crumble under the strain of a decayed society.

Cormac McCarthy's pulitzer prize winning novel The Road was adapted for screen by playwright Joe Penhall. And developed for screen by director John Hillcoat. Both men aimed to stay true to the material where possible, an objective accomplished by creating a dearth of civility.

Viggo's haggard face carries the forlorn expression of a man on the cusp of death. A stingy beard waterfalls down his face and chin. He bears the burden of protecting his son against a changing world.

Scenes involving the decay of the earth are beautifully rendered and in certain cases the threads of political and religious themes are visible. In one continuous pan of the devastation we see two fishing vessels kissing on a deserted "Highway 23". This is actual post Hurricane Katrina footage. Although I got the impression that Mr. Hillcoat had not intended it to be a heavy handed statement about politics-- you do wonder. Later when the smoke billows from a distant cityscape, a vista reminiscent of 9/11, we again see a reference to the recent past. The director spoke about the desire to draw on those recent memories, but not a desire to point a finger at the preceding administration.

From a plotting perspective the story is as thin and sinews as the hungry hero's tortured bodies. Yet it is a story that is rich with character development as the father (Viggo) attempts to inculcate the boy to respect the stringent rules of this new world-- that ultimately, when the walls of society break down and we all must resort to the basic instincts for survival, you must trust no-one. Joe was open about the limitations of the script in that capacity. As it encouraged, or allowed for more character development. 

Joe Penhall spoke candidly about process for writing about the cannibals, giving them life-- and engaging with the practicalities of storing and eating and most interestingly what to expect from the scent of a decaying body. A key aspect to making the story real is giving the characters that consciousness. Mr. Penhall spoke at great length about that process, and how he ensured that the plot was closely adhered to in pursuit of that objective. From a character perspective the movie had a litany of foibles to draw on. Especially when strong actors bring their own brand of believability to their role. Including Charlize Theron, who despite her supporting role-- delivers a harrowing performance.

Ultimately, special effects, cannibalism and references to contemporary life and political choices aside. This is a story of a father and son. The father attempting to pass on his bank of knowledge as if he where teaching his boy how to play catch.

The apocalyptic cityscapes are as engaging as the barren silences that accompany them. What is explored here is the society-- in the same way that Keopp and Friedman explored the human condition in the 2007 remake of War Of The Worlds or its original.

The movie is a slow burn, it trudges along at the snails pace of the protagonists aching limbs. And rarely do the stories heros wake with the optimism that this might get better.

The mood rarely changes from the bleakness of what lays ahead, but when it does it brings with it the warm glow of a christmas candle. These wonderfully executed moments coupled with flashbacks and dream sequences of Therons character makes for a compelling story-- her lines resonating through each act of the narrative "What would YOU do!" Seldom does the movie let up in its quest to surprise shock or destroy whats left of a world without rules... not rules enforced by the law but ones which you abide by to stay alive. Every journey begins with the first step. "The Road" is one worth taking.

Both the writer and the director were a pleasure to chat with and generous with their time.

The Details:

The Road is on general release on November 25th.

Story By: Terry Winders