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莱昂纳多与凯特十年后在银幕上的再百度组合，《革命之路》所呈现的却并非再是一如《泰塔尼克号》般为人动容的度纯美之爱，中产阶级的婚姻危机，成为了这部电影在两个明明相爱的人之间难掩的隐痛，但这部电影所要一展内的却远远并非只是中产阶级的婚姻危机范畴，它更为深层次所揭露的是每个人心中那理想被生活扼杀的残酷，一场梦想幻灭所诱人的启迪，是这部电影最让我所钟爱，并有感独到的所在。——梦里容诗书
本对女儿的话：7a64e59b9ee7ad94363
一件事无论太晚，或者对于我来说太早，都不会阻拦你成为你想成为的那个人，这个过程没有时间的期限，只要你想，随时都可以开始，要改变或者保留原状都无所谓，做事本不应有所束缚，我们可以办好这件事，却也可以把它搞砸，但我希望，最终你能成为你想成为的人，我希望你有时能驻足于这个令你感到惊叹的世界，体会你从未有过的感觉，我希望你能见到其他与你观点不同的人们，我希望你能有一个值得自豪的一生，如果和你想象的生活不一样，我希望你能有勇气，重新启程。
For what it's worth, it's never too late, or in my case, too early,
to be whoever you want to be.
There's no time limit, stop whenever you want.
You can change or stay the same.
There's no rules to this thing.
We can make the best or the worst of it.
I hope you make the best of it.
I hope you see things that startle you.
I hope you feel things you never felt before.
I hope you meet people with a different point of view.
I hope you live a life you're proud of.
If you find that you are not, I hope you have the strength to
start all over again
这段话本身就可以当影评了
还有最经典的是Good night Benjamin.
Good night Daisy. 剩下的需要你自己来组织了
电影《革命之路》，是由萨姆·门德斯执导，莱昂纳多·迪卡普里奥和凯特·温斯莱特等联袂主演的一部爱情片。
1955年的美国康涅狄格州，有一处名为“革命路”的住宅小区，这个小区坐落在城市的近郊，小区内的居民生活安稳，经济富裕，正是标准的“美国之梦”的象征。
弗兰克每天早出晚归，对自己的工作也毫无兴趣。弗兰克也曾雄心勃勃，但是被无聊的职员工作所困，只好借酒浇愁，不仅经常烂醉，还欠下一笔风流债。
妻子爱普莉是一个追逐时尚的女人，在她眼里，这里的生活显得陈腐和毫无生趣，她渴望到更远的地方，在全新的环境中享受生活。一心要迁居巴黎，过一种充满希望和激情，与庸俗现实完全不同的生活。
爱普莉对法国产生了种种幻想，她渴望迁居到巴黎，在那里重新开始自己的生活。于是她向弗兰克表明了自己的想法，但弗兰克却告诉她，那不过是一个求偶时的谎言罢了。电影的结尾，爱普莉以近乎自残的方式堕胎，独剩弗兰克一人在晦暗不明的革命之路奔跑。
扩展资料：
《革命之路》原著：
电影源自美国作家理查德·耶茨上世纪50年代创作的长篇小说《革命之路》，原作于2005年被《时代》周刊评选为百大文学经典之一，作者通过描写20世纪50年代美国一对普通中产阶级夫妇，由对当下生活与远方梦想的迷茫开始，从抗争，到妥协，最后不可挽回毁灭的故事。
作者以一个家庭的覆灭，紧紧扣住了时代的脉搏，写下了那一代人的迷茫和躁郁。耶茨后来更被评价为“焦虑时代”的菲兹杰拉德，《革命之路》也被比作那个时代的《了不起的盖茨比》。
虽然名字叫做《革命之路》，通篇却不涉及任何政治的观点或行为，更没有什么轰轰烈烈的运动，那只是一个古怪的地名。原著出版于1961年，是耶茨的第一部长篇，并没有如我们现在一样借古讽今的视角，相反耶茨在这篇处女作中，注入了自己太多的影子。
同弗兰克一样，耶茨也在年纪轻轻的时候参加了二战，但由于感染肺炎，他1944年被送回美国，后来用军队的补偿金举家迁往欧洲，开始拼了命的写作，可惜反响平平，在这几年时间里，他的妻子带着两个孩子离开他回到美国，与1959年同他离婚7a686964616fe58685e5aeb9365。
革命，就是那个关于巴黎与众不同的梦想，就是那一代美国人觉得自己生来就是要干一些大事的宿命。然而当战争结束，一切回归到和平的日常，世界像是激情过后贤者时间的男人们，一切忽然就索然无味。
弗兰克和爱普莉想追求意义，但他们自己也不知道真正意义到底是什么。发生在过去的革命早已结束，被风化成了路标，却没有人知道未来究竟在哪里。
参考资料来源：百度百科—《革命之路》
你好， cpu土豆大7a64e4b893e5b19e333哥。
援引国外某影评人，其中不乏对影片深刻的理解和电影艺术手段的分析，文章结构相当精湛，简短精要，你可以藉以参考润色，希望能帮得上你的忙。
Bottom Line: A marriage crumbles in this didactic, emotionally overblown critique of the soulless suburbs
The initial audience for this pungent critique of the soul-damaging, ball-busting desolation of the American suburbs of the postwar era might be "Titanic's" Leonardo DiCaprio and Kate Winslet reunite in "Revolutionary Road," only instead of their characters finding themselves on a sinking ship in 1912, they run aground in a disastrous mid-1950s marriage.
In the bad-marriage movie sweepstakes, "Revolutionary Road" is no "Who's Afraid of Virginia Woolf?" But when sheer nastiness seizes its characters, the vindictiveness and emotional damage are breathtaking. Here's the real difference: In "Virginia Woolf," George and Martha are locked into a symbiotic, disturbingly needy relationship that absolutely feed off their acidic battles. But for "Revolutionary Road's" Frank and April Wheeler, you wonder: Why don't they just get a divorce?
The initial audience for this pungent critique of the soul-damaging, ball-busting desolation of the American suburbs of the postwar era might be large. Younger audiences will be curious about the DiCaprio/Winslet reteaming, while older viewers might gravitate toward an old-fashioned domestic drama, the kind that more or less disappeared from cinemas once sci-fi, fantasy and horror took over. Yet the fragile foundation for all the marital histrionics in "Revolutionary Road" might lead to tepid word-of-mouth.
Justin Haythe's script and Sam Mendes' direction hew closely to Richard Yates' 1961 novel. Which means it fails to escape the novelist's misogyny and contempt for anything suburban. The phrase seized upon in both works is "hopeless emptiness." It's apt.
Frank (DiCaprio) and April (Winslet) are individuals born with an innate sense of superiority but absolutely no ambition. So finding themselves married with two young children and living in Connecticut, they are frustrated and bored. Her solution: Sell everything and move to Paris where they will get in touch with their inner bohemian.
He likes the idea for a while. Then, when a promotion at his Manhattan firm from a soulless job into a much better paying soulless job emerges, he sours on the idea. Her pregnancy because of bad family planning seems to settle the issue. But Frank hasn't calculated on a stubbornness and selfishness in April worse even than his own.
The Great Paris Getaway scheme is strewn with adulteries on both sides -- his with an office bimbo (Zoe Kazan) and hers with the boorish next-door neighbor (David Harbour) -- intrusions by busybodies like their happily chirping Realtor (fellow "Titanic" alum Kathy Bates) and the story's own Greek chorus. The latter is the Realtor's institutionalized son (Michael Shannon).
The moment he walks into the Wheeler household, he cuts through all the b.s. as he immediately discerns the couple's tenuous relationship. He asks all the right, damaging questions and makes all the right, devastatingly accurate observations. So in this tale of suburbia the only fellow who understands anything is the one on a four-hour pass from the funny farm.
"Revolutionary Road" is, essentially, a repeat for Mendes of "American Beauty," right down to the formal camera compositions, repetitive musical chords and shocking death at the end. Once more, the suburbs are well-upholstered nightmares and its denizens clueless -- other than one estranged male.
Clearly, this environment attracts the dramatic sensibilities of this theater-trained director. Everything is boldly indicated to the audience from arch acting styles to the wink-wink, nod-nod of its design. Indeed his actors play the subtext with such fury that the text virtually disappears. Subtlety is not one of Mendes' strong suits.
The movie mostly finds its dramatic rhythms in the, yes, titanic quarrels between its married couple. These lack for true wit or appreciation of rhetoric. Yet they are as toxic, hateful and desperate as any ever committed to the screen between a husband and wife.