Director: Nicholas Winding Refn.
Starring: Ryan Gosling, Carey Mulligan, Albert Brooks, Bryan Cranston, Ron Perlman.
Written by: Hossein Amini (Screenplay), James Sallis (Book).
Rated R for strong brutal bloody violence, language and some nudity.
I like to believe that I have pretty great taste in film. I take pride in knowing that there are very few people that I know personally who revel in the art of filmmaking the way that I do. However, it can be a bit alarming when the only thing that makes you feel secure in your belief of a movie’s excellence is the score on Rotten Tomatoes. That’s why I’m glad to say that there is one man I know of whose film preferences largely mirror my own. That man is David Sprouse: former assistant manager at the theater I used to work at (and all-around great guy).
Back in September, David had the chance to preview the film Drive. I (being a father and a student) was unable to attend. At the time, Drive was my most anticipated film of the year. The reviews were bordering on universal acclaim and the trailer often graced the screen of my (inept) Droid. So, needless to say, I was incredibly excited to hear David’s impressions of the film the next day at work, and here’s what he had to say:
“Stylish, but too emotionally detached.”
He awarded the film a three-and-a-half out of five (though, I noticed, he eventually bumped it up to a four).
I was crushed. Here I was expecting this year’s best film and David, my one-and-only film confidant, said it was merely good, not great. Normally I would consider this to be a fairly good score but this was Drive!
I hardly went to the movies when I worked there, so I wasn’t able to pass judgment on the film until this month when it hit DVD and I am happy to report that David and I have had our first disagreement (though, not really since he did technically enjoy the film).
To be fair, I can understand his criticism. First impressions show Ryan Gosling as a very cold, mechanical shell of a man. He’s simply the Driver. No name, no background to speak of, and no apparent emotions. He drives. That’s it. It’s as if he’s been stripped of his humanity and now exists merely as an extension of the machines he so effortlessly manipulates.
Ryan Gosling has fashioned a modern cinematic icon with his portrayal of the Driver. He may lack personality, but he makes up for it in style. He’s rarely seen without a toothpick in his mouth, his driving gloves are always at his disposal should the need arise, and he never leaves the house without his trademark scorpion-adorned silk jacket. (Guess who I want to be for Halloween.)
The character is fascinating. I found myself dwelling upon his actions long after the film was over. So little is revealed about him over the course of the film yet Gosling gives him so much depth. The man rarely speaks, but his actions speak volumes.
Driver develops a relationship with the meek, baby-faced beauty Irene (Carey Mulligan), his next-door neighbor, and her son, Benecio. As he interacts with the family, we begin to see that the Driver does indeed harbor deep emotions; he’s just unable to communicate them. His attempts at conversation are almost pathetic due to his inability to express how he feels. It would be understandable to interpret the Driver’s behavior as “emotionally detached” but I prefer to see it as “emotionally stunted.” Something has happened to this man that has caused him to regress socially. We never find out what it is, but we see enough to understand and empathize with his circumstance.
There seems to be trouble in paradise when Irene’s husband, Standard, is released from prison. Standard’s reentry into society has threatened the well-being of the only two people that the Driver cares for. We soon begin to see that the Driver is prone to catastrophic outbursts of violence. Drive is a film that screams nuance (or is that whispers?) in all respects save for one: its unmerciful depiction of brutality. It’s hard to endure, and makes a case for the Driver’s introspective behavior. He’s afraid of what he’s capable of. This is key to the movie's best scene: a devastating descent in an elevator.
The plot is a rather conventional crime drama that is redeemed by its stylish presentation, the performances of its supporting players, and by the Driver’s noble cause. The film feels very much like it’s grounded in reality, due in no small part to the people that fill in the blanks left by the Driver.
Much attention has been given to Albert Brook’s vicious portrayal of Bernie Ross, but my money for the best supporting performance goes to Oscar Isaac as Irene’s husband, Standard. His acceptance of the Driver plays against your expectations, and his affection for his family coupled with his longing for repentance makes his character all the more dynamic and sympathetic.
Any cinephile who relishes details will be in cinematic bliss with Drive; however, it’s not a film for everybody. Its lack of dialogue and exposition may prove frustrating for the average filmgoer and its sudden, extreme violence may provoke outrage amongst the more conservative audience members. I’d also like to point out that the licensed music, while thematically fitting, is incredibly jarring when you first hear it.
Overall though I believe Drive is an incredibly unique and emotionally-engaging experience if you give the film time to seep into your subconscious. The Driver is a character that begs to be dissected. Some, like my friend David, may interpret the character, and the film, as apathetic but I for one see him as a man who has, somehow, lost his humanity and is desperately attempting to reclaim it the only way he knows how.
Back in September, David had the chance to preview the film Drive. I (being a father and a student) was unable to attend. At the time, Drive was my most anticipated film of the year. The reviews were bordering on universal acclaim and the trailer often graced the screen of my (inept) Droid. So, needless to say, I was incredibly excited to hear David’s impressions of the film the next day at work, and here’s what he had to say:
“Stylish, but too emotionally detached.”
He awarded the film a three-and-a-half out of five (though, I noticed, he eventually bumped it up to a four).
I was crushed. Here I was expecting this year’s best film and David, my one-and-only film confidant, said it was merely good, not great. Normally I would consider this to be a fairly good score but this was Drive!
I hardly went to the movies when I worked there, so I wasn’t able to pass judgment on the film until this month when it hit DVD and I am happy to report that David and I have had our first disagreement (though, not really since he did technically enjoy the film).
 |
| This poster is brilliant. |
We are introduced to the man as he plays getaway driver. The scene is remarkably tense. It's remarkable because it plays against your expectations. The Driver doesn’t tear ass fast and furious through the streets to evade capture. Instead, he coolly manipulates his pursuers simply by using the lay of the land to his advantage. It’s the antithesis of the frantic, cut-heavy scenes we’re used to seeing in modern action films and it works beautifully as Driver’s introduction.
Ryan Gosling has fashioned a modern cinematic icon with his portrayal of the Driver. He may lack personality, but he makes up for it in style. He’s rarely seen without a toothpick in his mouth, his driving gloves are always at his disposal should the need arise, and he never leaves the house without his trademark scorpion-adorned silk jacket. (Guess who I want to be for Halloween.)
The character is fascinating. I found myself dwelling upon his actions long after the film was over. So little is revealed about him over the course of the film yet Gosling gives him so much depth. The man rarely speaks, but his actions speak volumes.
Driver develops a relationship with the meek, baby-faced beauty Irene (Carey Mulligan), his next-door neighbor, and her son, Benecio. As he interacts with the family, we begin to see that the Driver does indeed harbor deep emotions; he’s just unable to communicate them. His attempts at conversation are almost pathetic due to his inability to express how he feels. It would be understandable to interpret the Driver’s behavior as “emotionally detached” but I prefer to see it as “emotionally stunted.” Something has happened to this man that has caused him to regress socially. We never find out what it is, but we see enough to understand and empathize with his circumstance.
There seems to be trouble in paradise when Irene’s husband, Standard, is released from prison. Standard’s reentry into society has threatened the well-being of the only two people that the Driver cares for. We soon begin to see that the Driver is prone to catastrophic outbursts of violence. Drive is a film that screams nuance (or is that whispers?) in all respects save for one: its unmerciful depiction of brutality. It’s hard to endure, and makes a case for the Driver’s introspective behavior. He’s afraid of what he’s capable of. This is key to the movie's best scene: a devastating descent in an elevator.
The plot is a rather conventional crime drama that is redeemed by its stylish presentation, the performances of its supporting players, and by the Driver’s noble cause. The film feels very much like it’s grounded in reality, due in no small part to the people that fill in the blanks left by the Driver.
Any cinephile who relishes details will be in cinematic bliss with Drive; however, it’s not a film for everybody. Its lack of dialogue and exposition may prove frustrating for the average filmgoer and its sudden, extreme violence may provoke outrage amongst the more conservative audience members. I’d also like to point out that the licensed music, while thematically fitting, is incredibly jarring when you first hear it.
Overall though I believe Drive is an incredibly unique and emotionally-engaging experience if you give the film time to seep into your subconscious. The Driver is a character that begs to be dissected. Some, like my friend David, may interpret the character, and the film, as apathetic but I for one see him as a man who has, somehow, lost his humanity and is desperately attempting to reclaim it the only way he knows how.
5 out of 5
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