A mysterious young man (Bryan Gosling) spends his days acting
as a full time auto mechanic and a part time stunt driver. By night, he’s a wheel man for armed robbers. No matter the job, he remains the consummate
professional and has resigned himself to a strict routine. Shannon (Bryan Cranston), his friend and
mentor, hopes to one day put the young man’s uncanny driving abilities to more
lucrative use. To accomplish this, he turns to small time
mobsters Bernie (Albert Brooks) and Nino (Ron Perlman) for financial assistance. Meanwhile, Shannon’s star driver befriends Irene
(Carey Mulligan), a waitress who struggles to raise her young son Benecio
(Kaden Leos) alone. When Irene’s husband
Standard (Oscar Issac) returns home from jail, he is immediately recruited to
participate in an armed robbery. Shannon’s protégé step s in to help, only to
find himself embroiled in a violent double cross.
Drive is a stylish
new crime film from director Nicolas Winding Refn and screenwriter Hossein
Amini. It’s based on a novel of the same
name by James Sallis. The film is no
stranger to genre conventions, but courts them in a rather unusual way. In an age where even the simplest films hold
the viewer’s hand at every step, Drive
requires the audience to do its share of the leg work. It provides all the materials necessary for
one to understand what is happening and why, yet still leaves room for personal
interpretation.
Cinematographer Newton Thomas Sigel takes a disciplined yet
varied approach to the material. Drive was filmed on location in Los
Angeles. Nighttime aerial shots of the city make it
look as sprawling and expansive can be imagined. This is an interesting
contrast to how things appear at ground level.
The characters inhabit meager accommodations and toil away in garages
and diners. Interestingly, the
transitions between the aerial and ground level shots aren’t at all
jarring. The visual integrity is
maintained throughout. The seemingly
glamorous veneer hides a world of small time criminals. The locales harken back to the crime films of
the 1970’s. They are bathed in sepia
tones.
The action is much more sparring than the trailers would
have one believe. Refn, along with his cinematographer
Sigel and Editor Matthew Newman, create set pieces that are the antithesis of
modern chaos cinema. The car chases don’t
revel in excessive destruction of public property. They also aren’t cut together in a way where
every shot is meant to be an orgasmic pay off unto itself. They are fairly basic in conception, lasting
only as long as is necessary to get a visceral reaction from the audience. Smaller action scenes employ slow motion to
an almost dreamlike effect. That,
coupled with startling graphic violence, makes them both thrilling and
nightmarish.
The hero is the proverbial man of few words. The film doesn’t even bother providing him
with name. He is totally and completely
defined by actions. His deadpan expression
rarely changes save for a goofy smirk that surfaces during the films lighter
moments. As the situation intensifies, a
different side of him begins to emerge.
He is eventually revealed to be capable of shocking, sudden violence. He is also able to improvise in violent situations. As written by Hossein Amini and played by
Ryan Gosling, the character is an intriguing study in repressed sociopathy. He isn’t totally incapable of love or
empathy, yet reacts with biblical finality when him or his are threatened.
Drive is the most
effective genre exercise of its kind to come out this year. It arrives nearly ten months after the eerily
similar Faster. Both films bear a striking resemblance to
Walter Hill’s underrated 1978 crime film The
Driver. That two recent films would
so lovingly pay homage to an effective yet seemingly forgotten genre exercise
shows that the lessons of the 1970’s have not been lost on all of today’s filmmakers. Style and pacing can make all the difference
in the world when it comes to even the most clichéd material. Drive
is a bizarre ride down a very familiar stretch of road. Once the trip has come to an end, the strange
sights witnessed along the way prove unforgettable.
Awesome review, Scott!
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