I’ve rarely enjoyed a film as much as I enjoyed ‘Drive’.
Is it down to Ryan Gosling’s beauty? Yes. Is it down to the taut writing, the 80′s stylings which magically fit perfectly well into the present day? Yes, yes. What got me above all though was just how perfect a noir thriller this was, fulfilling all the conventions with grace, attitude and dark humour. The scenes of ultra violence will without question offend some (I was genuinely shocked twice in this film, and I’m hard to shock), but I loved every minute of it; as far as I’m concerned it was note perfect.
Car mechanic Gosling works part-time as a film stunt driver, but at night he acts as getaway driver for criminals. It’s easy money for someone emotionally detached from the world around him, but his priorities change when he falls in love with his neighbour Carey Mulligan, single parenting while her husband is in jail, and the two of them enjoy a brief period of happy ‘family’ life. Enter her husband Oscar Isaac, free and contrite, but in hock to gangsters he owes protection money to for keeping him alive in jail. With Mulligan and son Kaden Leos under threat Gosling joins him on the heist he’s being blackmailed into holding, to ensure their safety. But it all goes horribly, violently wrong.
Rooted firmly in pulp noir territory the ending is never in doubt (and no that’s not a spoiler), but director Nicolas Winding Refn has you rooting for the stunt-driver-with-no-name (toothpic permanently in mouth and everything) to defeat villainous Ron Perlman (chewing every single scene he’s in right up) and Albert Brooks, who delivers such an accomplished performance as a villain you’re left wondering what he was doing wasting a career in comedy. Gosling may be a crook but is without doubt the hero, and the tension in this dichotomy gives the film its energy (and the actor has no difficulty at all balancing his character’s criminality and heroism). But every performance is sublime, from Mulligan’s bad boy magnet single mother, to Gosling’s likeable but desperate boss Bryan Cranston, through to Gosling himself, owning the screen with just a look more convincingly than anyone since Clint Eastwood; this really is a classic in the making.
Screenwriter Hossein Amini delivers a highly emotional and challenging film by steadfastly refusing to adhere to a single Hollywood convention – it’s an intelligent film, which presumes its audience has a brain and wants to use it. Unashamedly minimalist from start to finish, with only sparse bursts of dialogue, the moments of extreme violence (which those fazed by that sort of thing should consider before watching) carry disproportionate weight because Refn and Amini make them so unexpected. It’s proof that thoughtful, old fashioned storytelling still very much has a place in modern cinema; even the car chases which happen service the story rather than the other way around. In a fair world it would win a clutch of Oscars, but what it will (rightly) do is propel Gosling and Mulligan right to the top of the ‘A’ list. More like this please, a lot more.
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