Road To Perdition full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In 1931, during the Great Depression, Michael Sullivan, Sr. is an enforcer for Irish mob boss John Rooney in Rock Island, Illinois. Rooney raised the orphan Sullivan and loves him more than his own biological son, Connor. Rooney sends Connor and Sullivan to meet with disgruntled associate Finn McGovern, but Connor shoots McGovern, resulting in Sullivan gunning down McGovern's men. Sullivan's twelve-year-old son Michael Jr. has hidden in his father's car and witnesses the event. Despite Sullivan swearing his son to secrecy, Rooney pressures Connor to apologize for the reckless action. That night, Connor murders Sullivan's wife Annie and younger son Peter. At the same time, he sends Sullivan to an ambush at a speakeasy. Sullivan realizes it's a set-up, kills two men at the bar, and escapes. He goes to Chicago with his surviving son to seek Al Capone, for work and to discover the location of Connor, who has gone into hiding.

Capone's underboss Frank Nitti rejects Sullivan's proposals, before informing Rooney of the meeting. Rooney reluctantly allows Nitti to dispatch assassin Harlen Maguire, who is also a voyeuristic crime scene photographer, to kill Sullivan. Maguire tracks him and his son to a roadside diner, but fails to kill Sullivan; realizing Maguire's intentions, Sullivan escapes through the bathroom and punctures Maguire's car tire before fleeing.

In reaction to the ordered hit, Sullivan begins robbing banks that hold Capone’s money, hoping to trade it for Connor. Sullivan is impeded when the mob withdraws its money, so he visits Rooney's accountant Alexander Rance at his hotel. The encounter is a set-up, with Rance stalling Sullivan until Maguire enters with a shotgun. In the ensuing crossfire, Rance is killed, Maguire is injured by flying glass shards, and Sullivan escapes with the ledgers; as Sullivan flees, Maguire shoots him in his left arm.

When his father collapses from his wound, Michael Jr. drives his father to a farm, where a childless elderly couple help him recover. Sullivan bonds with his son and discovers from the ledgers that Connor has been embezzling from his father for years, using the names of dead men. As the Sullivans depart, they give the couple much of the stolen money. Sullivan confronts Rooney with the information while they attend Mass. Rooney already knew about the embezzlement and that Connor was likely to die, if not by Sullivan's hand then by the Chicago Outfit once Rooney dies. He still refuses to give up his son. He encourages Sullivan to leave with Michael Jr.

Later one night, cloaked by darkness and rain, Sullivan locates Rooney, pulls out a Thompson submachine gun and slays his entire side. As Rooney mutters that he is glad his killer is Sullivan, a reluctant Sullivan pulls the trigger. Seeing no further reason to protect Connor, Nitti reveals his location, after making Sullivan promise to end the feud. Sullivan goes to the hotel where Connor is hiding and kills him.

Sullivan drives his son to stay at his Aunt Sara's beach house in Perdition, a town on the shore of Lake Michigan. However, he is ambushed and shot by a disfigured Maguire. As Maguire prepares to photograph the dying Sullivan, Michael Jr. appears and points a gun at Maguire but cannot muster the will to fire. Sullivan pulls out his gun and kills Maguire, before dying in his son's arms. Mourning his father's death, Michael Jr. returns to live with the elderly farm couple. Growing up, Michael, Jr. reflects that his father's only fear was that his son would become like him. Michael states he has never held a gun since the fatal encounter between Maguire and his father. When asked if Sullivan was a good or bad man, he replies, "he was my father."

• Tom Hanks as Michael Sullivan, Sr.
• Tyler Hoechlin as Michael Sullivan, Jr.
• Paul Newman as John Rooney
• Jude Law as Harlen Maguire
• Daniel Craig as Connor Rooney
• Stanley Tucci as Frank Nitti
• Jennifer Jason Leigh as Annie Sullivan
• Liam Aiken as Peter Sullivan
• Dylan Baker as Alexander Rance
• Ciarán Hinds as Finn McGovern
• Kerry Rossall as Rooney's Henchman (uncredited)

Development

When Max Allan Collins wrote the graphic novel Road to Perdition, his book agent saw potential in the story as a film adaptation and showed it to a film agent. By 1999, the novel had reached Dean Zanuck, who was the vice president of development at the company owned by his father, producer Richard D. Zanuck. The novel was sent to the elder Zanuck in Morocco, who was there producing Rules of Engagement (2000). The Zanucks agreed on the story's prospect and sent it to director-producer Steven Spielberg. Shortly afterward, Spielberg set up the project at his studio DreamWorks, though he did not pursue direction of the film due to his full slate.

Mendes sought a new project after completing American Beauty (1999) and explored prospects including A Beautiful Mind, K-PAX, The Shipping News, and The Lookout. DreamWorks sent Mendes Road to Perdition as a prospect, and Mendes was attracted to the story, considering it "narratively very simple, but thematically very complex". One theme that he saw in the story was of the parents' world that is inaccessible to their children. Mendes considered the story's theme to be about how children deal with violence, and whether exposure to violence would render children violent themselves. Mendes described the script as having "no moral absolutes", a factor that appealed to the director.

Writing

Spielberg first contacted screenwriter David Self to adapt the story into a feature film. Self wrote an initial draft that remained close to the source material and retained most of its dialogue. The screenplay was then rewritten by uncredited writers, distancing the script from the graphic novel and leaving the core elements of the story. Some of the harsher aspects of the story were toned down as the script became more streamlined; for example, in some early drafts of the screenplay, Sullivan became an alcoholic, but this element was ultimately absent from the final version.

The story itself is deeply informed by the Lone Wolf and Cub manga series. Novelist Max Allan Collins acknowledged the influence of Lone Wolf and Cub on his graphic novel Road to Perdition in an interview to the BBC, declaring that "Road To Perdition is 'an unabashed homage' to Lone Wolf And Cub".

Some of the characters' names were slightly changed from their original versions from the graphic novel: the surname of the real-life gangsters John Looney and his son Connor were changed to Rooney, and the surname of Tom Hanks' character and his family was streamlined from the original O'Sullivan to simply Sullivan. One significant addition to the script was the creation of Maguire to provide a persistent element of pursuit to the Sullivans' departure from the old world.

Hanks and cinematographer Conrad Hall requested Mendes to limit violence in the film to meaningful acts, rather than gratuitous carnage. Hanks' character, Michael Sullivan, is known as "The Angel of Death" in the graphic novel and invokes fear in those around him, but his infamy is downplayed in the film. Mendes, who described the graphic novel as "much more pulpy", sought to reduce the graphic novel's background to its essence, seeking the "nonverbal simplicity" of films like Once Upon a Time in America (1984), Pat Garrett and Billy the Kid (1973), and films by Akira Kurosawa that lack dialogue. Duplicate language in characters' confrontations in Road to Perdition was trimmed to the absolute minimum. Mendes described Road to Perdition as a "poetic, elegiac story, in which the pictures tell the story". An example of one such unspoken scene in the film was the piano duet between Rooney and Michael Sr., intended to convey their relationship without words. In the final 20 minutes of Road to Perdition, the script was written to have only six lines of dialogue.

Max Allan Collins originally wanted to write the adapted screenplay, but was not given the opportunity. He chose to stay out of the scripting process out of respect for the different style of writing for a different medium, though he served as a consultant in the process. Collins praised the addition of Maguire and considered the minimalist use of dialogue to be appropriate. The author also applauded the film's version of Rooney as "more overtly a father figure" to Sullivan.

Collins opposed the profanity in the script, as the vulgar language did not fit his vision of the 1930s. He also contested the path of Sullivan's son in the film. In the graphic novel, the son kills once, and in the film, he does not kill anyone. Collins also disagreed with the narration technique of the film. In the novel, the son narrates the story as an adult, becoming a priest, while in the film, he narrates while still a young boy.

Casting

Tom Hanks was sent a copy of the graphic novel by Steven Spielberg while he was filming Cast Away. Initially too busy to make sense of the story, he later received David Self's adapted screenplay, to which he became attached. Hanks, a father to four children, described Michael Sullivan's role, "I just got this guy. If you're a man, and you've got offspring ... emotionally, it's devastating."

Tyler Hoechlin was chosen from over 2,000 candidates to portray Michael Sullivan's son. The actor was 14 years old at the time of filming. For scenes in which Hoechlin's character assisted his father as a getaway driver, Hoechlin was trained by a driving instructor.

Paul Newman was unanimously the first choice for the role of John Rooney. The actor prepared by requesting Frank McCourt, the Irish-American author of Angela's Ashes, to record a tape of his voice.

David Self, who created the Maguire character, explained, "He gets so jaded from exposure to this world, he steps over the line from being the storyteller to being the story maker." To capture the "seedy countenance" of the character, Jude Law was given a sallow skin tone that reflected the wear from working in a darkroom. Law's teeth also received a lower gumline and had a rotted look. He was also given a weak, thinning hairline. Maguire's apartment also displays a collection of photographs of dead bodies, some of them actual police stills from the 1930s.

Stanley Tucci was selective about roles in gangster films, believing that Hollywood stereotyped Italian-Americans as gangsters. However, attracted by the prospect of working with Mendes, the actor accepted the role of Nitti, a real-life Mob boss from Chicago.

Anthony LaPaglia was cast as Al Capone and filmed a single scene, which was omitted from the final cut, and can be found in the DVD's deleted scenes. Mendes believed that Capone was more menacing as an unsee