When they meet, Frank and April are wide-eyed youths, brimming with the endless possibilities in store for them. Frank’s carefree exuberance dazzles April, who, as an aspiring actress, has high hopes for an exciting future. Several years and two kids later, however, April’s only creative outlet is a second-rate production of “The Petrified Forest,” in which she fails to impress even her husband. Rather than lying to his wife about enjoying her unimpressive performance, Frank says all the wrong things, even though she clearly needs the comfort of a lie. Frank’s inability to let April forget about her mediocrity sends her over the edge, igniting the fuse that leads to an explosive argument on the side of the road, a scene both painful and fascinating to witness.
Fresh from the sting of his wife’s biting words about his being a pathetic excuse for a man, Frank initiates an affair with his secretary Maureen (Zoe Kazan), in an attempt to feel better about turning thirty and living an unsatisfactory life working as a corporate drone at the Knox Business Machines company in New York. Upon returning home, he finds that April has planned a surprise party consisting of herself and her two children, who welcome their father by singing “Happy Birthday.” Later that night, April approaches Frank with the brash suggestion that they should pick up and relocate to Paris.
Suppressed by her dull life as a housewife, April is optimistic about starting the new life she’s always dreamed about. She appeals to Frank’s desire to be special, glorifying their possible future in Paris, saying that she’ll work as a secretary to support her husband while he takes the time he needs to find himself. With the realization that his greatest fear of following in his father’s footsteps has become a bleak reality, Frank agrees to the move, saying “Why the hell not?” The formerly ominous atmosphere of the film makes a drastic transition to one of hope and happiness as the protagonists finally have something to look forward to.
Confident with the prospect of a better tomorrow, the Wheelers spread the news that they’re moving to Paris, eliciting responses of shock and disbelief. Their only ally appears to be the emotionally unstable son of their perky realtor, Helen Givings (“Titanic” co-star Kathy Bates). Visiting the Wheelers on a five hour pass from a mental institute, John (Michael Shannon) — whose biggest problem is telling the whole and painful truth — sees the sense in Frank and April wanting to leave their hopeless lives behind them. Shannon’s performance is nothing short of spectacular. Although most of the film’s cringe-inducing moments result from John’s harshly blunt speeches, Shannon plays the character with an emotional rawness befitting the only person in the film unafraid to be himself, in spite of the consequences.
As Frank and April go through the motions of life whilst the date of their move draws nearer, an unexpected pregnancy complicates matters. April is desperately unwilling to change their plans, yet her pregnancy gives Frank the perfect excuse to reassess the idea of leaving the safety of his job and home. It is at this turning point that the two leads put their immense acting talents to good use as their on-screen alter egos face a terrible dilemma. Is moving to Paris their only possibility for happiness? Or can they be content with living a commonplace existence in their seemingly perfect Connecticut suburb?
The highlight of the film is undoubtedly DiCaprio and Winslet. DiCaprio’s boyish charm and good looks are the perfect compliment to Winslet’s graceful poise and classic beauty. The two feed off of each other, using their undeniable chemistry to enliven and bring meaning to screenwriter Justin Haythe’s insightful script. Director Sam Mendes (Winslet’s real-life husband) does a beautiful job depicting Frank and April as they conform to a life neither ever wanted. Mendes also manages to convey the couple’s short-lived hope of escaping that life as well as their despair once this hope is gone.