document_title: Null hypothesis

question_text: the value in the null hypothesis comes from what

text: Null hypothesis

text: Principle[edit]

text: Hypothesis testing requires constructing a statistical model of what the data would look like, given that chance or random processes alone were responsible for the results. The hypothesis that chance alone is responsible for the results is called the null hypothesis. The model of the result of the random process is called the distribution under the null hypothesis. The obtained results are then compared with the distribution under the null hypothesis, and the likelihood of finding the obtained results is thereby determined.[3]

text: Hypothesis testing works by collecting data and measuring how likely the particular set of data is, assuming the null hypothesis is true, when the study is on a randomly selected representative sample. The null hypothesis assumes no relationship between variables in the population from which the sample is selected.

text: If the data-set of a randomly selected representative sample is very unlikely relative to the null hypothesis (defined as being part of a class of sets of data that only rarely will be observed), the experimenter rejects the null hypothesis concluding it (probably) is false. This class of data-sets is usually specified via a test statistic which is designed to measure the extent of apparent departure from the null hypothesis. The procedure works by assessing whether the observed departure measured by the test statistic is larger than a value defined so that the probability of occurrence of a more extreme value is small under the null hypothesis (usually in less than either 5% or 1% of similar data-sets in which the null hypothesis does hold).

text: If the data do not contradict the null hypothesis, then only a weak conclusion can be made: namely, that the observed data set provides no strong evidence against the null hypothesis. In this case, because the null hypothesis could be true or false, in some contexts this is interpreted as meaning that the data give insufficient evidence to make any conclusion; in other contexts it is interpreted as meaning that there is no evidence to support changing from a currently useful regime to a different one.

text: For instance, a certain drug may reduce the chance of having a heart attack. Possible null hypotheses are "this drug does not reduce the chances of having a heart attack" or "this drug has no effect on the chances of having a heart attack". The test of the hypothesis consists of administering the drug to half of the people in a study group as a controlled experiment. If the data show a statistically significant change in the people receiving the drug, the null hypothesis is rejected.

text: Basic definitions[edit]

text: The null hypothesis and the alternate hypothesis are types of conjectures used in statistical tests, which are formal methods of reaching conclusions or making decisions on the basis of data.  The hypotheses are conjectures about a statistical model of the population, which are based on a sample of the population.  The tests are core elements of statistical inference, heavily used in the interpretation of scientific experimental data, to separate scientific claims from statistical noise.

text: "The statement being tested in a test of statistical significance is called the null hypothesis.  The test of significance is designed to assess the strength of the evidence against the null hypothesis.  Usually, the null hypothesis is a statement of 'no effect' or 'no difference'."[4]  It is often symbolized as H0.

text: The statement that is being tested against the null hypothesis is the alternative hypothesis.[4]  Symbols include H1 and Ha.

text: Statistical significance test: "Very roughly, the procedure for deciding goes like this: Take a random sample from the population.  If the sample data are consistent with the null hypothesis, then do not reject the null hypothesis; if the sample data are inconsistent with the null hypothesis, then reject the null hypothesis and conclude that the alternative hypothesis is true."[5]

text: The following sections add context and nuance to the basic definitions.

text: Example[edit]

text: Given the test scores of two random samples of men and women, does one group differ from the other? A possible null hypothesis is that the mean male score is the same as the mean female score:

text: where

text: A stronger null hypothesis is that the two samples are drawn from the same population, such that the variances and shapes of the distributions are also equal.

text: Terminology[edit]

text: The simple/composite distinction was made by Neyman and Pearson.[6]

text: Fisher required an exact null hypothesis for testing (see the quotations below).

text: A  one-tailed hypothesis (tested using a one-sided test)[4] is an inexact hypothesis in which the value of a parameter is specified as being either:

text:
above or equal to a certain value, or
below or equal to a certain value.

text: A one-tailed hypothesis is said to have directionality.

text: Fisher's original (lady tasting tea) example was a one-tailed test.  The null hypothesis was asymmetric.  The probability of guessing all cups correctly was the same as guessing all cups incorrectly, but Fisher noted that only guessing correctly was compatible with the lady's claim.  (See the quotations below about his reasoning.)

text: Goals of null hypothesis tests[edit]

text: There are many types of significance tests for one, two or more samples, for means, variances and proportions, paired or unpaired data, for different distributions, for large and small samples; all have null hypotheses.  There are also at least four goals of null hypotheses for significance tests:[8]

text:
Technical null hypotheses are used to verify statistical assumptions.  For example, the residuals between the data and a statistical model cannot be distinguished from random noise.  If true, there is no justification for complicating the model.
Scientific null assumptions are used to directly advance a theory.  For example, the angular momentum of the universe is zero.  If not true, the theory of the early universe may need revision.
Null hypotheses of homogeneity are used to verify that multiple experiments are producing consistent results.  For example, the effect of a medication on the elderly is consistent with that of the general adult population.  If true, this strengthens the general effectiveness conclusion and simplifies recommendations for use.
Null hypotheses that assert the equality of effect of two or more alternative treatments, for example, a drug and a placebo, are used to reduce scientific claims based on statistical noise.  This is the most popular null hypothesis; It is so popular that many statements about significant testing assume such null hypotheses.

text: Rejection of the null hypothesis is not necessarily the real goal of a significance tester.  An adequate statistical model may be associated with a failure to reject the null; the model is adjusted until the null is not rejected.  The numerous uses of significance testing were well known to Fisher who discussed many in his book written a decade before defining the null hypothesis.[9]

text: A statistical significance test shares much mathematics with a confidence interval.  They are mutually illuminating.  A result is often significant when there is confidence in the sign of a relationship (the interval does not include 0).  Whenever the sign of a relationship is important, statistical significance is a worthy goal.  This also reveals weaknesses of significance testing: A result can be significant without a good estimate of the strength of a relationship; significance can be a modest goal.  A weak relationship can also achieve significance with enough data.  Reporting both significance and confidence intervals is commonly recommended.

text: The varied uses of significance tests reduce the number of generalizations that can be made about all applications.

text: Choice of the null hypothesis[edit]

text: The choice of the null hypothesis is associated with sparse and inconsistent advice.  Fisher mentioned few constraints on the choice and stated that many null hypotheses should be considered and that many tests are possible for each.  The variety of applications and the diversity of goals suggests that the choice can be complicated.  In many applications the formulation of the test is traditional.  A familiarity with the range of tests available may suggest a particular null hypothesis and test.  Formulating the null hypothesis is not automated (though the calculations of significance testing usually are).  Sir David Cox has said, "How [the] translation from subject-matter problem to statistical model is done is often the most critical part of an analysis".[10]

text: A statistical significance test is intended to test a hypothesis.  If the hypothesis summarizes a set of data, there is no value in testing the hypothesis on that set of data.  Example: If a study of last year's weather reports indicates that rain in a region falls primarily on weekends, it is only valid to test that null hypothesis on weather reports from any other year.  Testing hypotheses suggested by the data is circular reasoning that proves nothing; It is a special limitation on the choice of the null hypothesis.

text: A routine procedure is as follows: Start from the scientific hypothesis.  Translate this to a statistical alternative hypothesis and proceed: "Because Ha expresses the effect that we wish to find evidence for, we often begin with Ha and then set up H0 as the statement that the hoped-for effect is not present."[4]  This advice is reversed for modeling applications where we hope not to find evidence against the null.

text: A complex case example is as follows:[11]  The gold standard in clinical research is the randomized placebo-controlled double-blind clinical trial.  But testing a new drug against a (medically ineffective) placebo may be unethical for a serious illness.  Testing a new drug against an older medically effective drug raises fundamental philosophical issues regarding the goal of the test and the motivation of the experimenters.  The standard "no difference" null hypothesis may reward the pharmaceutical company for gathering inadequate data.  "Difference" is a better null hypothesis in this case, but statistical significance is not an adequate criterion for reaching a nuanced conclusion which requires a good numeric estimate of the drug's effectiveness.  A "minor" or "simple" proposed change in the null hypothesis ((new vs old) rather than (new vs placebo)) can have a dramatic effect on the utility of a test for complex non-statistical reasons.

text: Directionality[edit]

text: This section is too long. Consider splitting it into new pages, adding subheadings, or condensing it.  (September 2014)

text: The choice of null hypothesis (H0) and consideration of directionality (see "one-tailed test") is critical.

text: Tailedness of the null-hypothesis test[edit]

text:
Consider the question of whether a tossed coin is fair (i.e. that on average it lands heads up 50% of the time) and an experiment where you toss the coin 5 times.
A possible result of the experiment that we consider here is 5 heads.
Let outcomes be considered unlikely with respect to an assumed distribution if their probability is lower than a significance threshold of 0.05.

text:
A potential null hypothesis implying a one-tail test is "this coin is not biased toward heads".
Beware that, in this context, the word "tail" takes two meanings: either as outcome of a single toss, or as region of extremal values in a probability distribution.

text:
Indeed, with a fair coin the probability of this experiment outcome is 1/25=0.031, which would be even lower if the coin were biased in favour of tails.
Therefore, the observations are not likely enough for the null hypothesis to hold, and the test refutes it.
Since the coin is ostensibly neither fair nor biased toward tails, the conclusion of the experiment is that the coin is biased towards heads.

text:
Alternatively, a null hypothesis implying a two-tailed test is "this coin is fair".
This one null hypothesis could be examined by looking out for either too many tails or too many heads in the experiments.
The outcomes that would tend to refuse this null hypothesis are those with a large number of heads or a large number of tails, and our experiment with 5 heads would seem to belong to this class.

text:
However, the probability of 5 tosses of the same kind, irrespective of whether these are head or tails, is twice as much as that of the 5-head occurrence singly considered.
Hence, under this two-tailed null hypothesis, the observation receives a probability value of 0.063.
Hence again, with the same significance threshold used for the one-tailed test (0.05), the same outcome is not statistically significant.
Therefore, the two-tailed null hypothesis will be preserved in this case, not supporting the conclusion reached with the single-tailed null hypothesis, that the coin is biased towards heads.

text: This example illustrates that the conclusion reached from a statistical test may depend on the precise formulation of the null and alternative hypotheses.

text: Discussion[edit]

text: Fisher said, "the null hypothesis must be exact, that is free of vagueness and ambiguity, because it must supply the basis of the 'problem of distribution,' of which the test of significance is the solution", implying a more restrictive domain for H0.[12] According to this view, the null hypothesis must be numerically exact—it must state that a particular quantity or difference is equal to a particular number. In classical science, it is most typically the statement that there is no effect of a particular treatment; in observations, it is typically that there is no difference between the value of a particular measured variable and that of a prediction.

text: Most statisticians believe that it is valid to state direction as a part of null hypothesis, or as part of a null hypothesis/alternative hypothesis pair.[13] However, the results are not a full description of all the results of an experiment, merely a single result tailored to one particular purpose. For example, consider an H0 that claims the population mean for a new treatment is an improvement on a well-established treatment with population mean = 10 (known from long experience), with the one-tailed alternative being that the new treatment's mean > 10. If the sample evidence obtained through x-bar equals −200 and the corresponding t-test statistic equals −50, the conclusion from the test would be that there is no evidence that the new treatmnent is better than the existing one: it would not report that it is markedly worse, but that is not what this particular test is looking for. To overcome any possible ambiguity in reporting the result of the test of a null hypothesis, it is best to indicate whether the test was two-sided and, if one-sided, to include the direction of the effect being tested.

text: The statistical theory required to deal with the simple cases of directionality dealt with here, and more complicated ones, makes use of the concept of an unbiased test.

text: The directionality of hypotheses is not always obvious.  The explicit null hypothesis of Fisher's Lady tasting tea example was that the Lady had no such ability, which led to a symmetric probability distribution.  The one-tailed nature of the test resulted from the one-tailed alternate hypothesis (a term not used by Fisher).  The null hypothesis became implicitly one-tailed.  The logical negation of the Lady's one-tailed claim was also one-tailed.  (Claim: Ability > 0; Stated null: Ability = 0;  Implicit null: Ability ≤ 0).

text: Pure arguments over the use of one-tailed tests are complicated by the variety of tests.  Some tests (for instance the  χ2 goodness of fit test) are inherently one-tailed.  Some probability distributions are asymmetric.  The traditional tests of 3 or more groups are two-tailed.

text: Advice concerning the use of one-tailed hypotheses has been inconsistent and accepted practice varies among fields.[14]  The greatest objection to one-tailed hypotheses is their potential subjectivity.  A non-significant result can sometimes be converted to a significant result by the use of a one-tailed hypothesis (as the fair coin test, at the whim of the analyst).  The flip side of the argument: One-sided tests are less likely to ignore a real effect.  One-tailed tests can suppress the publication of data that differs in sign from predictions.  Objectivity was a goal of the developers of statistical tests.

text: It is a common practice to use a one-tailed hypotheses by default. However, "If you do not have a specific direction firmly in mind in advance, use a two-sided alternative.  Moreover, some users of statistics argue that we should always work with the two-sided alternative."[4][15]

text: One alternative to this advice is to use three-outcome tests.  It eliminates the issues surrounding directionality of hypotheses by testing twice, once in each direction and combining the results to produce three possible outcomes.[16]  Variations on this approach have a history, being suggested perhaps 10 times since 1950.[17]

text: Disagreements over one-tailed tests flow from the philosophy of science.  While Fisher was willing to ignore the unlikely case of the Lady guessing all cups of tea incorrectly (which may have been appropriate for the circumstances), medicine believes that a proposed treatment that kills patients is significant in every sense and should be reported and perhaps explained.  Poor statistical reporting practices have contributed to disagreements over one-tailed tests.  Statistical significance resulting from two-tailed tests is insensitive to the sign of the relationship; Reporting significance alone is inadequate.  "The treatment has an effect" is the uninformative result of a two-tailed test.  "The treatment has a beneficial effect" is the more informative result of a one-tailed test.  "The treatment has an effect, reducing the average length of hospitalization by 1.5 days" is the most informative report, combining a two-tailed significance test result with a numeric estimate of the relationship between treatment and effect.  Explicitly reporting a numeric result eliminates a philosophical advantage of a one-tailed test.  An underlying issue is the appropriate form of an experimental science without numeric predictive theories: A model of numeric results is more informative than a model of effect signs (positive, negative or unknown) which is more informative than a model of simple significance (non-zero or unknown); in the absence of numeric theory signs may suffice.

text: History of statistical tests[edit]

text: The history of the null and alternative hypotheses is embedded in the history of statistical tests.[18][19]

text:
Before 1925:  There are occasional transient traces of statistical tests for centuries in the past, which provide early examples of null hypotheses.  In the late 19th century statistical significance was defined.  In the early 20th century important probability distributions were defined.  Gossett and Pearson worked on specific cases of significance testing.
1925:  Fisher published the first edition of Statistical Methods for Research Workers which defined the statistical significance test and made it a mainstream method of analysis for much of experimental science.  The text was devoid of proofs and weak on explanations, but it was filled with real examples.  It placed statistical practice in the sciences well in advance of published statistical theory.
1933:  In a series of papers (published over a decade starting in 1928) Neyman & Pearson defined the statistical hypothesis test as a proposed improvement on Fisher's test.  The papers provided much of the terminology for statistical tests including alternative hypothesis and H0 as a hypothesis to be tested using observational data (with H1, H2... as alternatives).[6]  Neyman did not use the term null hypothesis in later writings about his method.
1935:  Fisher published the first edition of the book "The Design of Experiments" which introduced the null hypothesis[20] (by example rather than by definition) and carefully explained the rationale for significance tests in the context of the interpretation of experimental results; see The Design of Experiments#Quotations regarding the null hypothesis.
Following:  Fisher and Neyman  quarreled over the relative merits of their competing formulations until Fisher's death in 1962.  Career changes and World War II ended the partnership of Neyman and Pearson.  The formulations were merged by relatively anonymous textbook writers, experimenters (journal editors) and mathematical statisticians without input from the principals.[18]  The subject today combines much of the terminology and explanatory power of Neyman & Pearson with the scientific philosophy and calculations provided by Fisher.  Whether statistical testing is properly one subject or two remains a source of disagreement.[21]  Sample of two: One text refers to the subject as hypothesis testing (with no mention of significance testing in the index) while another says significance testing (with a section on inference as a decision).  Fisher developed significance testing as a flexible tool for researchers to weigh their evidence.  Instead testing has become institutionalized.  Statistical significance has become a rigidly defined and enforced criterion for the publication of experimental results in many scientific journals.  In some fields significance testing has become the dominant and nearly exclusive form of statistical analysis.  As a consequence the limitations of the tests have been exhaustively studied.  Books have been filled with the collected criticism of significance testing.


document_title: The Good Doctor (TV series)

question_text: when does the good doctor episode 8 air

question_tokens: when does the good doctor episode 8 air

root

text: The Good Doctor (TV series)

text: Premise[edit]

text: The series follows Shaun Murphy, a young surgeon with autism and savant syndrome from a small town, Casper, Wyoming, where he had a troubled childhood. He relocates to join the prestigious surgical department at San Jose St. Bonaventure Hospital.[3]

tag: p

text: Cast and characters[edit]

text: Main[edit]

text:
Freddie Highmore as Shaun Murphy: A surgical resident with autism and savant syndrome.[4] His savant abilities include near-photographic recall and the ability to note minute details and changes. He is portrayed in flashbacks to his teen years by Graham Verchere.[5]
Nicholas Gonzalez as Neil Melendez: Attending Cardiothoracic surgeon in charge of surgical residents.[4] He is also engaged to Jessica Preston.
Antonia Thomas as Claire Browne: A surgical resident who forms a special connection with Shaun.[6]
Chuku Modu as Jared Kalu: A surgical resident from a wealthy family.[7]
Beau Garrett as Jessica Preston: The hospital in-house attorney and Vice President of Risk Management. She is the granddaughter of the hospital founder and a friend of Dr. Glassman.[8][9] She is also engaged to Dr. Melendez.
Irene Keng as Elle McLean: A resident (appeared only in the pilot)[10][11]
Hill Harper as Marcus Andrews: Chief of surgery and board member.[10]
Richard Schiff as Aaron Glassman: President of the San Jose St. Bonaventure Hospital, who has been a mentor and good friend of Shaun since he was 14.[12][13]
Tamlyn Tomita as Allegra Aoki: Chairman and Vice President of the foundation that controls the hospital.[14]

tag: ul

text: Recurring[edit]

text:
Dylan Kingwell as Steve Murphy: Shaun's younger brother (in flashbacks).[5] He also portrays Evan Gallico, a boy in the present that resembles Shaun's brother and is suffering from stage 4 Osteosarcoma.
Paige Spara as Lea: Shaun's Love interest/neighbor.
Eric Winter as Matt Coyle: A suave doctor who charms the hospital's staff, until he makes explicit advances towards one of them.[15]

text: Notable guests[edit]

text:
Jasika Nicole as Carly[16]
Eve Gordon as Nurse Fryday[16]
Christina Chang as Dr. Audrey Lim
Marsha Thomason as Isabel Andrews: Marcus' wife.[17]

text: Episodes[edit]

text:
No.
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

1
"Burnt Food"
Seth Gordon
David Shore
September 25, 2017 (2017-09-25)
11.22[18]

On the way to begin his surgical residency at San Jose St. Bonaventure Hospital, Dr. Shaun Murphy witnesses an airport sign fall and shatter glass onto a young boy. Another doctor is first on the scene and begins applying pressure to the child's neck. Shaun tells him that he's pressing on the wrong part of the neck for a child. With his unique ability to visualize the internal body and using improvised methods and tools, Shaun is able to stabilize the boy. On the way to the hospital, Shaun notices that the boy's vitals have changed. Hospital staff are alerted to the arrival of the boy. Shaun tries to tell the doctors about the boy's vitals, stating that he needs an echo-cardiogram. The doctors disagree and begin surgery. While operating, something goes wrong and Claire Browne, a surgical resident, recalls Shaun mentioning an echo. Thanks to Shaun's diagnosis, the boy's life is saved. Meanwhile, in a hospital board meeting, Dr. Aaron Glassman, president of the hospital, tries to convince the board to hire Shaun, despite his autism. Flashbacks give us a picture of Shaun's childhood and his motivation for becoming a doctor.

2
"Mount Rushmore"
Mike Listo
David Shore
October 2, 2017 (2017-10-02)
10.93[19]

Dr. Melendez is doing rounds with Dr. Browne and Dr. Kalu. Melendez calls out Shaun for arriving late on his first full day. A middle aged woman is brought into the ER with abdominal pain. Shaun immediately diagnoses a malignant tumor. Melendez assigns Browne as his number two for the surgery while giving Shaun "scut work" - all the work that residents hate doing. On the operating table, the doctors find the tumor is much bigger than expected and has encased all of her arteries. Looking at biopsy results, the residents find out that she is suffering from leiomyosarcoma, making surgery seemingly impossible. Shaun's ability to visualize the internal organs allows him to figure out that removing one of her kidneys would allow a better look, enough to view and possibly remove the mass. To Browne's dismay, Kalu suggests Shaun's idea to Melendez, getting the credit for the idea. Meanwhile, Shaun's attention to detail in his scut work gets him into trouble. Instead of releasing patients ready for discharge, Shaun rechecks them and orders additional tests. Upon learning this, Melendez assigns Nurse Freydey as Shaun's "boss" for the day. Later, after rechecking a discharged young girl's test results, Shaun races to her home. The parents are annoyed that he's bothering them after midnight and at first refuse to let him in. Shaun insists he will not leave before seeing their daughter. His diagnosis is correct and they must rush her to the hospital for surgery to save her life.

3
"Oliver"
John Dahl
Bill Rotko
October 9, 2017 (2017-10-09)
10.69[20]

Shaun and Claire fly to San Francisco Municipal Hospital to get a patient a liver. They can't fly on their way back due to fog and are forced to use a police escort. Problems keep coming one after the other; first, the liver's temperature went above the required maximum, forcing them to have a sudden stop at a local store, where they cool it by submerging it in slush. As they proceed with their journey, Shaun discovers that the liver has a clot. With only two hours of viability left, the duo decide to perform an operation on the way in order to remove the clot and flash the left lobe, to protect it from the ice bath. Back at San Jose St. Bonaventure Hospital, Chuck, the recipient of the liver, is discovered to have alcohol in his system; a likelihood that he might be moved to the bottom of the list. Chuck later confesses that he actually took a drink on his daughter's graduation. In order to protect its reputation and the future patients, the hospital decides to move Chuck to the bottom of the list. To their dismay, Shaun and Claire arrive back, only to find out that the liver has to be taken to another patient in another hospital.

4
"Pipes"
Steven DePaul
Thomas L. Moran
October 16, 2017 (2017-10-16)
10.60[21]

Through an ultrasound, an expectant woman's baby is diagnosed with a tumor at his tail bone; the mom has Antiphospholipid syndrome, making surgery a high risk. Dr. Melendez suggests termination of the pregnancy but Shaun interjects by suggesting clotting pre-operatively with an infusion of unfractionated heparin. Things are further complicated when the woman and eventually her husband refuse to terminate the baby. During surgery, there is a complication; a blood clot at the artery in her heart. Dr. Kalu has an idea that they should stop her heart and put her on a bypass machine for the duration of the surgery; that way she won't have an heart attack, which turns out to be successful and the doctors reveal she's carrying a baby boy. With a patient needing a boil lanced, Dr. Melendez assigns Shaun and Dr. Browne on the case, as a punishment for being late. The patient turns out to be a pornographic actress; she doesn't have a boil but a large Bartholin gland abscess and they prep her for surgery the following day. They successfully drain the abscess but discover that she has a Perineal myoma underneath. The fibroid tumor is wrapped around the nerve that facilitates feeling in her genitals. Therefore, the doctors have to remove the tumor but they have to sever the nerve; hence, losing all feeling in her genitals. Shaun comes up the idea of grafting the distal end of the pudendal nerve to the branch of the femoral cutaneous nerve from her inner thigh; this will lead to her losing feeling in her thigh while preserving feeling in her genitals.

5
"Point Three Percent"
Larry Teng
David Hoselton
October 23, 2017 (2017-10-23)
10.39[22]

Shaun notices a young boy with an indubitable resemblance to his deceased brother Steve, forming a bond with him. The boy's name is actually Evan and was brought to the hospital by his parents for reportedly breaking an arm; unbeknownst to Evan, he is in fact suffering from stage 4 Osteosarcoma. Shaun later suspects that he might have been misdiagnosed with cancer but indeed was suffering from Langerhans cell histiocytosis. In order not to give both Evan and his parents false hopes, Shaun decides to lie, attempting to perform a bone marrow aspiration, but he is caught red-handed by the parents. Subsequently, Evan starts coughing out blood, sending him to the OR. While on the operating table, Dr. Neil Menendez and Dr. Claire Browne discover that the cancer had metastasized, undoubtable proof that he is indeed suffering with terminal cancer. The other doctors are trying to find a prognosis of a 66-year old man, brought to the hospital by his estranged son, with an allergy causing him to have convulsions. Dr. Browne later finds out that the man is suffering from Echinococcus, a cyst form of tapeworms. Saddened by Evan's fate, which Evan has in fact known about the whole time, Shaun reads Evan the final few pages of To Kill a Mockingbird, a book of Steve's that he never finished reading before he died.

6
"Not Fake"
Michael Patrick Jann
Simran Baidwan
October 30, 2017 (2017-10-30)
10.60[23]

Shaun and the rest of the residents are working the graveyard shift when numerous casualties from a wedding bus crash come in. Among the victims are a woman with severe, visible burns, on whom Dr. Kalu tries an experimental procedure, and a young man with a damaged leg who can either have it amputated, or have an artificial bone inserted. The relative newness of the latter procedure causes a conflict between the man's parent and his soon-to-be bride.

7
"22 Steps"
David Straiton
Johanna Lee
November 13, 2017 (2017-11-13)
10.14[24]

Shaun encounters Liam, an autistic patient brought in to San Jose St. Bonaventure Hospital. Having to face prejudice from the young man's parents, Dr. Melendez defends him for the first time and acknowledges his exceptional abilities. On Dr. Glassman's directive, Claire continues her therapy sessions in order to curb her guilt over the death of a patient she inadvertently caused in the previous episode. On the other hand, Dr. Kalu gets a 73-year-old man with severe chest pains thus needing urgent medical attention and a pacemaker but his desire is to die; in order to give him hope on life, Dr. Kalu does everything he can to have him accept treatment, to no avail in which the latter finally lets him sign the DNR.

8
"Apple"
Nestor Carbonell
David Renaud
November 20, 2017 (2017-11-20)
9.97[25]

While shopping at a grocery mart for apples, a robbery takes place. With Shaun's communication limitations, he puts the lives of two customers on a first date at risk, leading to a young woman getting shot. Shaun's neighbor Lea hugs him after he admits that he made a mistake with someone getting hurt. During surgery, Dr. Lim questions Claire's ability to not let her emotions get the better of her because of a racist patient. This leads to a fight between the two with Dr. Lim ordering Claire to leave the operating room. Claire puts her emotions in check to save the life of the racist patient much to the satisfaction and delight of Dr. Lim.

9
"Intangibles"
Bronwen Hughes
Karen Struck
November 27, 2017 (2017-11-27)
9.25[26]

The team takes on the case of a young boy from the Congo who has severe congenital heart anomalies; Murphy's latest encounter with his neighbor Lea has him confused. He takes flirting lessons from Dr. Browne and notes and charts what he sees in regards to the "flirting trifecta". Meanwhile, Dr. Browne along with a lab tech search for a misplaced tissue sample from a woman with possible throat cancer.

10
"Sacrifice"
Michael Patrick Jann
Lloyd Gilyard Jr.
December 4, 2017 (2017-12-04)
9.03[27]

In Dr. Glassman's office, Shaun sees the therapist hired to help him with in-home visits. He reluctantly agrees to meet with her, but changes his mind after meeting a new patient, Bobby Ato, who convinces him to stop letting people tell him what he can and can't do. Ato is a champion gamer, who is in St. Bonaventure for surgery to repair torn ligaments in his left arm. After an MRI, cancer is discovered, making an additional surgery much more complicated and results in doubt. Shaun avoids meeting with his therapist by sleeping in the hospital custodian's closet at night. Finally, a confrontation with Glassman in the hospital lobby leads to Shaun having a meltdown, causing him to strike Glassman in the face and run out of the hospital. Meanwhile, Claire runs into an uncomfortable situation with a new doctor, Dr. Matt Coyle, who makes unwanted sexual advances toward her. After telling Jared about this, he confronts the doctor and physically threatens him. As a result, Jared is fired. Later, Dr. Melendez and Jessica have dinner with her father. In a tense situation, Melendez criticizes Mr. Preston as living off his father's money instead of contributing to society. When Preston offers to pay for their wedding so Jessica can quit her job and start a family, an angry Melendez calls him a "parasite." The next day, Melendez apologizes to Jessica for his remarks and learns that she doesn't want to have children.

11
"Islands Part One"
Bill D'Elia
Thomas L. Moran & William Rotko
January 8, 2018 (2018-01-08)
8.30[28]

12
"Islands Part Two"[29]
Cherie Nowlan
Thomas L. Moran & William Rotko
January 15, 2018 (2018-01-15)
TBD

13
"Seven Reasons"[30]
TBA
TBA
January 22, 2018 (2018-01-22)
TBD

tag: table

text: Production[edit]

text: Development[edit]

text: In May 2014, CBS Television Studios began development on an American remake of the hit South Korean medical drama Good Doctor with Daniel Dae Kim as producer. Kim explained the appeal of adapting the series as "something that can fit into a recognizable world, with a breadth of characters that can be explored in the long run".[31] The story of a pediatric surgeon with autism was to be set in Boston and projected to air in August 2015.[32][33] However, CBS did not pick up the project and it moved to Sony Pictures Television, with a put pilot commitment from ABC in October 2016. The series is developed by David Shore, who is executive producing alongside Kim, Sebastian Lee, and David Kim.[34] ABC officially ordered the series to pilot in January 2017.[35]

text: On May 11, 2017, ABC ordered the show to series as a co-production with Sony Pictures Television and ABC Studios,[36] and it was officially picked up for a full season of 18 episodes on October 3, 2017.[37]

text: Casting[edit]

text: On February 17, 2017, Antonia Thomas was cast as Dr. Claire Browne, a strong-willed and talented doctor who forms a special connection with Shaun.[6] A week later, Freddie Highmore was cast in the lead role as Dr. Shaun Murphy, a young surgeon with autism; and Nicholas Gonzalez was cast as Dr. Neil Melendez, the boss of the surgical residents at the hospital.[4] The next month, Chuku Modu was cast as resident Dr. Jared Unger;[7] Hill Harper as head of surgery Dr. Horace Andrews; Irene Keng as resident Dr. Elle McLean;[10] and Richard Schiff was cast as Dr. Ira Glassman, President of the San Jose St. Bonaventure Hospital and mentor to Shaun.[12] He was shortly followed by Beau Garrett as hospital board member Jessica Preston and a friend of Dr. Glassman.[9] With the series order in May, Modu's character was revealed to have changed to Dr. Jared Kalu; Harper's character changed to Dr. Marcus Andrews; and Schiff's character changed to Dr. Aaron Glassman.[36] In September 2017, Tamlyn Tomita was promoted to the principal cast as Allegra Aoki.[14]

text: Filming[edit]

text: Production on the pilot took place from March 21 to April 6, 2017 in Vancouver, British Columbia.[39][40] Filming for the rest of the season began on July 26, 2017, and is set to conclude on March 1, 2018.[41] Although The Good Doctor is set in San Jose, California, the real San Jose is rarely seen.[42] In one of those scenes, a helicopter supposedly bound for San Francisco was clearly headed in the wrong direction.[42]

text: Music[edit]

text: Dan Romer serves as the primary composer for the series.[43]

text: Release[edit]

text: Broadcast[edit]

text: The Good Doctor began airing on September 25, 2017, on ABC in the United States,[44] and on CTV in Canada.[45] Sky Living acquired the broadcast rights for the United Kingdom and Ireland.[46] Seven Network airs the series in Australia.[47] Wowow, the largest Japanese private satellite and pay-per-view television network in Japan acquired the rights to broadcast the series beginning in April 2018.[48]

text: Marketing[edit]

text: A full length trailer was released for ABC's May 2017 Upfront presentation, which /Film's Ethan Anderton described the concept as feeling like "House meets Rain Man, that just might be enough to make it interesting". However, he questioned "how long can audiences be entranced by both the brilliance of [Highmore's] character's savant skills and the difficulties that come from his autism in the workplace."[49] Daniel Fienberg of The Hollywood Reporter felt the trailer was "both kinda progressive and really dated". He added, "Too much felt on-the-nose—especially Hill Harper as the main character's detractor and Richard Schiff as his noble defender", while also commentating that "On-the-nose/premise is how you have to trailer a show like this, and maybe spaced out over 43 minutes it won't grate."[50] Ben Travers and Steve Greene for IndieWire called it "a serious trailer for a serious subject. The first glimpse of Highmore's character hints that they're toeing the line between presenting a thoughtful depiction of his condition and using his perceptive abilities as a kind of secret weapon."[51] The trailer had been viewed over 25.4 million times after a week of its release, including over 22 million views on Facebook.[52]

text: The pilot was screened at ABC's PaleyFest event on September 9, 2017.[53]

text: Reception[edit]

text: Ratings[edit]

text:
No.
Title
Air date
Rating/share
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)

1
"Burnt Food"
September 25, 2017
2.2/9
11.22[18]
2.2
7.86
4.4
19.21[54]

2
"Mount Rushmore"
October 2, 2017
2.2/9
10.93[19]
2.1
7.21
4.3
18.12[55]

3
"Oliver"
October 9, 2017
2.0/7
10.69[20]
2.2
7.53
4.2
18.22[56]

4
"Pipes"
October 16, 2017
2.0/8
10.60[21]
2.1
7.34
4.1
17.96[57]

5
"Point Three Percent"
October 23, 2017
1.8/7
10.39[22]
2.0
7.10
3.8
17.50[58]

6
"Not Fake"
October 30, 2017
1.9/7
10.60[23]
2.0
6.93
3.9
17.51[59]

7
"22 Steps"
November 13, 2017
1.9/7
10.14[24]
1.9
6.92
3.8
17.14[60]

8
"Apple"
November 20, 2017
1.8/7
9.97[25]
1.8
6.98
3.6
16.99[61]

9
"Intangibles"
November 27, 2017
1.7/7
9.25[26]
1.8
6.66
3.5
15.91[62]

10
"Sacrifice"
December 4, 2017
1.6/7
9.03[27]
1.8
6.67
3.4
15.74[63]

11
"Islands Part One"
January 8, 2018
1.6/6
8.30[28]
TBD
TBD
TBD
TBD

12
"Islands Part Two"
January 15, 2018
TBD
TBD
TBD
TBD
TBD
TBD

13
"Seven Reasons"
January 22, 2018
TBD
TBD
TBD
TBD
TBD
TBD

text: The series premiere earned a 2.2/9 rating in the 18- to 49-year-old demographic, with 11.22 million total viewers, making it the most watched Monday drama debut on ABC in 21 years, since Dangerous Minds in September 1996, and the highest rated Monday drama in the 18–49 demographic in 8.5 years, since Castle in March 2009.[64] Factoring live plus seven-day ratings, the pilot was watched by a total of 19.2 million viewers and set a record for DVR viewers with 7.9 million, surpassing the record of 7.67 million set by the pilot of Designated Survivor in 2016.[65] According to TV Guide's November 13-26 issue, the October 9 episode attracted 18.2 million viewers, beating out both NCIS and The Big Bang Theory for the most viewed primetime show that week.[66]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reports a 58% approval rating with an average rating of 5.49/10 based on 38 reviews. The website's consensus reads, "The Good Doctor's heavy-handed bedside manner undermines a solid lead performance, but under all the emotionally manipulative gimmickry, there's still plenty of room to improve."[67] Metacritic, which uses a weighted average, assigned a score of 53 out of 100 based on 15 critics, indicating "mixed or average reviews".[68]

text: Giving his first impression of the series' pilot for TVLine, Matt Webb Mitovich stated, "The Good Doctor boasts great DNA... [and] has the potential to be a refreshingly thought-provoking hospital drama, based on the buttons pushed in the pilot alone." He enjoyed the "warm dynamic" of Schiff and Highmore, while describing Thomas' character as "our emotional 'in' to Shaun's distinct, distant world". He noted that "it takes a while to build up momentum", but concluded that "the very final scene packs quite a punch, as Dr. Murphy unwittingly puts a colleague on notice".[69]

text: The New York Times television critic, James Poniewozik notes in his Critic's Notebook column, that for the most part the drama is a "hospital melodrama with whiz-bang medical science, a dash of intra-staff romance and shameless sentimentality." Discussing the main characters of Dr. Aaron Glassman (Richard Schiff) and Dr. Shaun Murphy (Freddie Highmore), however, Poniewozik writes that "Mr. Schiff is convincing in the role and Mr. Highmore is striking in his." [70]

text: Speaking of Freddie Highmore's Golden Globe nomination on Monday, December 11, 2017, for his role in The Good Doctor, Laura Bradley, writing for Vanity Fair (magazine) says: "... Freddie Highmore received the awards recognition that has long and unjustly eluded him..." Bradley feels that Highmore's perfomance has been "the central key" to the show's enormous success and while the show had lukewarm reviews, most critics have praised Highmore's work. [71]

text: Accolades[edit]

text:
Year
Award
Category
Nominee(s)
Result
Ref.

2018
Golden Globe Awards
Best Actor – Television Series Drama
Freddie Highmore
Nominated
[72]


document_title: Road to Perdition

question_text: where does the movie road to perdition take place

text: Road to Perdition

text: Plot[edit]

text: 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. had hidden in his father's car and witnesses the event. Despite Sullivan swearing his son to secrecy and Rooney pressuring Connor to apologize for the reckless action, 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 son to seek Al Capone, for work and to discover the location of Connor, who has gone into hiding.

text: 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 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.

text: 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.

text: 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 his son.

text: Later one night, cloaked by darkness and rain, Sullivan dispatches Rooney's entire entourage with his Thompson submachine gun and walks directly up to Rooney. 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.

text: 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."

text: Cast[edit]

text:
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

text: Production[edit]

text: Development[edit]

text: 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.[2] 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.[3]

text: Mendes sought a new project after completing American Beauty (1999) and explored prospects including A Beautiful Mind, K-PAX, The Shipping News,[4] 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".[3] 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.[5]

text: Writing[edit]

text: Spielberg first contacted screenwriter David Self to adapt the story into a feature film.[3] 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.[2] 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.[3]

text: 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".[6]

text: 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.[2]

text: 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.[5] 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),[3] and films by Akira Kurosawa that lack dialogue.[7] Duplicate language in characters' confrontations in Road to Perdition was trimmed to the absolute minimum.[8] Mendes described Road to Perdition as a "poetic, elegiac story, in which the pictures tell the story".[4] 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.[8] In the final 20 minutes of Road to Perdition, the script was written to have only six lines of dialogue.[4]

text: Max Allan Collins originally wanted to write the adapted screenplay, but was not given the opportunity.[2] 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.[9] The author also applauded the film's version of Rooney as "more overtly a father figure" to Sullivan.[2]

text: Collins opposed the profanity in the script, as the vulgar language did not fit his vision of the 1930s.[9] 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.[10]

text: Casting[edit]

text: 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."[3]

text: Tyler Hoechlin was chosen from over 2,000 candidates to portray Michael Sullivan's son.[3] 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.[11]

text: Paul Newman was unanimously the first choice for the role of John Rooney.[4] The actor prepared by requesting Frank McCourt, the Irish-American author of Angela's Ashes, to record a tape of his voice.[3]

text: 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."[7] 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.[11] 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.[12]

text: 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.[13]

text: Anthony LaPaglia was cast as Al Capone and filmed a single scene, which was omitted from the final cut,[14] and can be found in the DVD's deleted scenes.[15] Mendes believed that Capone was more menacing as an unseen presence. Actor Alfred Molina was approached to portray Capone, but Molina was forced to turn the role down due to scheduling conflicts with Frida (2002).[16]

text: Filming[edit]

text: Before filming, Mendes sought to produce a period film that would avoid clichés in the gangster genre. He chose to film Road to Perdition on location in downtown at the University Club of Chicago, the Chicago neighborhood of Pullman as well as the Chicago suburb of Geneva, Illinois. The Armory, the state's largest location mainstay which houses the Illinois State National Guard, was provided to the studio by the Illinois State Film Commission. Sets were built inside the Armory, including interiors of the Sullivan family's home and the Rooney mansion. The availability of an inside location provided the crew complete control over the lighting environment, which was established with the rigging of scaffoldings.[17]

text:
Atmospherically, the landscape is a violent and magnificent canvas on which is told a mythic story of a father and son in the last period of lawlessness in American history.

Sam Mendes[17]

tag: div

text: Mendes collaborated with costume designer Albert Wolsky, production designer Dennis Gassner, and cinematographer Conrad Hall to design the film's style. Wolsky designed costumes that were "very controlled, with soft outlines and very soft silhouettes". Gassner built sets that could capture the cold look of the era. Mendes sought a muted palette for the film, having dark backgrounds and sets with dark, muted greens and grays. Mendes filmed Road to Perdition using the Super 35 format.[17]

text: The director filmed exterior scenes in Illinois in the winter and the spring of 2001, using real weather conditions such as snow, rain, and mud for the scenes. Mendes considered the usage of bleak weather conditions and the intended coldness of Gassner's exterior locations to define the characters' emotional states. Pullman became a key location to reflect this theme, having several settings, including the town's historic Florence Hotel, easily redressed by the crew for the film.[17] Filming concluded in June 2001.[3]

text: Cinematography[edit]

text: To establish the lighting of scenes in Road to Perdition, Mendes drew from the paintings of Edward Hopper as a source of inspiration, particularly Hopper's New York Movie (1939). Mendes and cinematographer Conrad Hall sought to convey similar atmospheric lighting for the film's scenes, applying a "less is more" mantra.[18] Hall also shot wide open scenes that retained one point in the depth of field sharply focused. Hall considered the technique to provide an emotional dimension to the scenes. The cinematographer also used unconventional techniques and materials to create unique lighting effects. One of Hall's methods was to use black silk in daylight exterior scenes to filter the light enough to create an in-shade look.[17]

text: Hall purposely distanced the camera from Hanks' character, Michael Sullivan Sr., at the beginning of the film to establish the perspective of Sullivan's son, who is unaware of his father's true nature.[3] Hanks' character was filmed as partially obscured and seen through doorways, and his entrances and exits took place in shadows. A wide lens was used to maintain a distance from the character.[17]

text: Shots in the film were drawn directly from panels in the graphic novel, illustrated by Richard Piers Rayner. An instance of the direct influence is the scene in which Michael Jr. looks up at the Chicago skyline from the vehicle, with the skyline reflected in the vehicle's glass.[7]

text: A seamless 40-second driving scene, in which Michael Sullivan and his son travel into Chicago from the countryside, was aided by visual effects. The live-action part of the scene was filmed at LaSalle Street, and due to the lack of scenery for part of the drive down LaSalle Street, the background of Balbo Drive was included with the use of visual effects.[19]

text: Themes[edit]

text: Consequences of violence[edit]

text:
[What's] important, in this story, is what the violence does to the person who pulls the trigger, and what it has done to them over the years, how it has gradually corroded them. It has rotted their insides.

Sam Mendes[8]

text: The film's title, Road to Perdition, is both Michael Sullivan and his son's destination town and a euphemism for Hell, a road that Sullivan desires to prevent his son from traveling. Sullivan, who chooses his violent path early on in life, considers himself irredeemable and seeks to save his son from a similar fate. Said Mendes, "[Sullivan] is in a battle for the soul of his son. Can a man who has led a bad life achieve redemption through his child?"[20] Hanks described Sullivan as a man who achieved a comfortable status through violent means, whose likely repercussions he ignored. Sullivan is a good father and husband, but also has a job that requires him to be a violent killer. The film explores this paradoxical dichotomy. When Sullivan is faced with the consequences, Hanks says, "At the moment we're dropped into the story, it is literally the last day of that false perspective."[12] To keep Sullivan from justifying his violent actions in the film, Mendes omitted scenes in the final cut that had Sullivan explaining his background to his son.[3]

text: In the film, most of the numerous acts of violence are committed off-screen. The violent acts were also designed to be quick, reflecting the actual speed of violence in the real world. The focus was not on the direct victims of the perpetuated violence, but the impact of violence on the perpetrators or witnesses to the act.[8]

text: Fathers and sons[edit]

text: The film also explores father-son relationships, not only between Michael Sullivan and his son, but between Sullivan and his boss, John Rooney, and between Rooney and Connor. Sullivan simultaneously idolizes and fears Rooney, and Sullivan's son feels the same about his own father. Rooney's son, Connor, has none of Sullivan's redeeming qualities, and Rooney is conflicted about whom to protect: his biological son or his surrogate son. Connor is jealous of his father's relationship with Sullivan, which fuels his actions, ultimately causing a domino effect that drives the film.[12]

text: Because Sullivan shields his background from his son, his attempt to preserve the father-son relationship is actually harmful. Tragedy brings Sullivan and his son together.[21] Sullivan escapes from the old world with his son, and the boy finds an opportunity to strengthen the relationship with his father. Tyler Hoechlin, who portrayed Michael Jr., explained, "His dad starts to realize that Michael is all he has now and how much he's been missing. I think the journey is of a father and son getting to know each other, and also finding out who they themselves are."[12]

text: Water[edit]

text: Water served as a motif in the film. It was developed after researching the wake scene at the beginning of the film informed the director that corpses were kept on ice in the 1920s to keep bodies from decomposing. The notion was interwoven into the film, which linked the presence of water with death.[11] Mendes reflected on the theme, "The linking of water with death... speaks of the mutability of water and links it to the uncontrollability of fate. These are things that humans can't control."[11]

text: Release[edit]

text: When filming concluded in June 2001,[3] the studio intended a United States release for the following Christmas. But by September 2001, Mendes requested more time. It was rescheduled for release on July 12, 2002, an unconventional move that placed the drama among the action-oriented summer films.[3]

text: Box office[edit]

text: Road to Perdition opened in 1,798 theaters over its opening weekend, competing against several other new releases including Reign of Fire, Halloween: Resurrection and The Crocodile Hunter: Collision Course, and grossed $22,079,481, placing second to Men in Black II, which was in its second week of release.[22] It eventually grossed $104.5 million in the United States and $76.5 million in other territories for a worldwide total of $181 million.[1]

text: Reception [edit]

text: The film received positive reviews from critics, with the lead performances of Hanks and Newman being praised. Review aggregation website Rotten Tomatoes gives the film an approval rating of 81% based on 210 reviews, with an average rating of 7.5/10. The site's critical consensus reads, "Somber, stately, and beautifully mounted, Sam Mendes' Road to Perdition is a well-crafted mob movie that explores the ties between fathers and sons."[23] Metacritic, which assigns a weighted average rating from reviews by mainstream critics, gave a film score of 72 out of 100, based on 36 critics, indicating "generally favorable reviews".[24]

text: Reviewer James Berardinelli, on his own ReelViews web site, praised Road to Perdition for its atmosphere and visuals, but he considered an emotional attachment to be lacking except for Sullivan's son.[25] Roger Ebert of the Chicago Sun-Times praised Hall's cinematography and the thematic use of water. He, too, felt an emotional detachment from the characters, saying, "I knew I admired it, but I didn't know if I liked it... It is cold and holds us outside."[26]

text: Eleanor Ringel Gillespie of The Atlanta Journal-Constitution enjoyed the film's cinematography and Depression-era setting, as well as the performances of Hanks and Newman. Gillespie expressed the wish that the film lasted a little longer to explore its emotional core further.[27] Eric Harrison of the Houston Chronicle considered Road to Perdition "the most brilliant work in this [gangster] genre" since the uncut Once Upon a Time in America (1984). Harrison considered Self's script "so finely honed that the story can change directions in a heartbeat."[28]

text: Kirk Honeycutt of The Hollywood Reporter praised Hanks, Newman, and Craig but called Law's performance "almost cartoonish".[29] Peter Travers of Rolling Stone also complimented Hanks and Newman: "[They] act together with the confidence of titans, their talents in the service of character, never star ego." Travers cited Hall's "breathtaking" cinematography and composer Thomas Newman's "evocative" score.[30]

text: Paul Clinton of CNN said: "While these deeply human issues are touched upon, they're never fully explored, and that undermines the sense of greatness to which this movie obviously aspires. Clinton considered Craig's character "one-dimensional to the extreme". He found the cinematography too overpowering for the film's storyline, which he considered "weak".[31] J. Hoberman of The Village Voice described the film as "grim yet soppy." He added: "The action is stilted and the tabloid energy embalmed."[32] Stephen Hunter of The Washington Post thought that the script lost its path when Sullivan and his son fled their old life.[33]

text: Accolades [edit]

text: Road to Perdition was nominated for six Academy Awards: Best Supporting Actor (Paul Newman), Best Art Direction (Dennis Gassner and Nancy Haigh), Best Cinematography (Conrad L. Hall), Best Original Score (Thomas Newman), Best Sound Mixing (Scott Millan, Bob Beemer and John Pritchett), and Best Sound Editing (Scott Hecker). The sole award went, posthumously, to Hall for Cinematography.[34] Newman was also nominated for a Golden Globe Award for Best Supporting Actor – Motion Picture at the 60th Golden Globe Awards and for a Critics' Choice Movie Award for Best Supporting Actor at the 8th Critics' Choice Awards.[citation needed]

text: The film was also nominated for BAFTA Awards for Best Performance by an Actor in a Supporting Role (Newman), Best Cinematography, and Best Production Design, winning awards for the latter two.[35] Hall also won an award from the American Society of Cinematographers for Outstanding Achievement in Cinematography in Theatrical Releases.[36] In April 2006, Empire recognized Road to Perdition as number six in its list of the top 20 comic book films.[37]

text: Home media[edit]

text: Max Allan Collins, who authored the graphic novel, was hired to write the novelization for the film adaptation. Collins initially turned in a draft that contained 90,000 words, but the licensing at DreamWorks required the author to use only the dialogue from the film and no additional dialogue. Collins reluctantly edited the novelization down to 50,000 words and later said he regretted taking on the task.[9]

text: Road to Perdition was released on DVD on February 25, 2003, in both full screen and anamorphic widescreen versions. The DVD's features included an audio commentary, deleted scenes, an HBO "Making of" documentary, and a photo gallery.[38] Work on the DVD began on the same day the film's production began, and a collaborative effort among the director, the studio, and the DVD production crew shaped the DVD's content. Due to a limit of space on the DVD, the film's deleted scenes were chosen over a DTS soundtrack. Instead, the DVD included a Dolby Digital 5.1 soundtrack.[39] A special edition DVD containing both DTS and Dolby Digital 5.1 soundtracks was also released, excluding the "Making of" documentary to fit both soundtracks.[40]

text: Road to Perdition was released on Blu-ray Disc on August 3, 2010, featuring a widescreen transfer, a DTS-HD Master Audio 5.1 soundtrack, and all of the features from the DVD release.[citation needed]