Directed by
uncompromising Danish auteur Nicolas Winding Refn, Drive is the best of several “art” films to achieve mainstream
status in the past few years. Looking set to become a cult classic, Drive is already developing a strong
following. So what’s all the fuss about?
In a
somewhat formulaic plot, Ryan Gosling plays an unnamed protagonist, working as
a Hollywood stuntman by day whilst moonlighting as a getaway driver. A loner,
Gosling harbours a secret love for neighbour Irene (Carey Mulligan), whose
husband is being hassled by the mob. To protect Irene, Gosling – against his
better judgement - offers to help her husband. Naturally not everything goes to
plan…
It should be
noted that Drive simply has to be
watched on Blu-ray. Never has L.A looked so slick. The helicopter shots of the
neon drenched cityscape are stunning. Sun soaked Los Angeles is brought to life
in a way never seen before. This is pulp movie making at its absolute finest.
Without doubt,
this is Goslings film, from start to finish. His is a minimalist performance of
subtle brilliance. Not since Alan Ladd’s Shane have we seen a hero this coolly
stoic. Calm, composed and utterly ruthless, this is Gosling’s best performance
since his stunning breakthrough in Half
Nelson. Dialogue is minimal, but Gosling’s portrayal stems mainly from a
stolen glance, wry smile, or the occasional flexing of a leather glove. Those
familiar with Clint Eastwood roles of old will be in familiar territory here.
Gosling also sports a certain jacket which, believe me, will you have you
scouring the internet in search of a replica as soon as the credits start to
roll.
Carey
Mulligan doesn’t have a great deal to work with, but as ever delivers a
memorable performance as Irene– even if she is relegated to the lowly role of
love interest. Breaking Bad star Bryan Cranston is perfect as Goslings good
hearted, criminal employer. Ron Perlman is, as always, mesmerising. The real
surprise performance of Drive is that
of former funny man Albert Brooks, who positively delights in playing
bad-to-the-bone villain Bernie Rose. Brooks simply oozes malice, and perfectly
counteracts Gosling’s driver in every way imaginable. From the outset, it is
clear that these two men are destined for a violent confrontation.
Violence is
not something Drive shies away from.
Anyone familiar with Winding Refn’s previous work will be aware that the
director delights in satisfying our morbid fascination with the macabre. In Drives relatively short 100 minute
runtime; we witness stabbings, car crashes, artery severances, eye gouging,
drowning, beatings and shootings. Oh, and Gosling puts his boot to good use in
an already infamous elevator scene, reminiscent of Gaspar Noe’s Irreversible. Maybe not one for the
faint hearted then…
Drive implements the most ludicrously
infectious soundtrack of the year. Comprised entirely of heavily synthesised,
80’s influenced Euro-pop, the results are spectacular. When the super stylised
visuals are infused with this peculiar brand of pulsating synth pop, Drive simply excels. This is how movies
should be made.
Imagine the
original 1980’s Miami Vice, directed
by William Friedkin and absolutely drenched in neo-noir retro styling. Delicately
treading the line between action and art, Refn has created something wholly original.
Some might argue that Drive is a
classic case of style over substance, but when it looks this good – who cares?
