Director: Nicolas Winding Refn
Cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman, Oscar Isaacs and Albert Brooks
Running Time: 100 minutes
Certificate: 18
Synopsis: A Hollywood stunt driver (Gosling), who moonlights as a competent getaway driver-for-hire, is thrown deep into the sleazy criminal underworld after he agrees to assist his neighbour, Irene (Mulligan), and her troubled husband, Standard (Isaacs). He soon has a bounty on his head after the job goes horribly wrong, and must battle to save Irene and her son, who inadvertently become targets themselves.
At THN, we are ardent fans of the two main creative forces behind DRIVE. Refn’s outstanding portfolio includes BRONSON (2008), which features a powerful performance from Tom Hardy (LAYER CAKE, INCEPTION). Whereas Gosling’s incisive portrayal of an inner city teacher struggling with a heroin addiction in HALF NELSON (2006), saw critics and audiences singing his praises; and deservedly so. That considered, THN expected a collaboration from the two to yield spectacular results. An expectation that was ultimately fulfilled.
DRIVE is set in LA, and is based on James Sallis’ novel of the same name. It boasts a wonderful backdrop consisting of vivid colours and vibrant scenery, perhaps most apparent during the opening sequences, where the camera pans across the dark and unforgiving city. Refn and Newton Thomas Sigel, the cinematographer, accentuate the lighting or lack thereof, especially when it comes to establishing Gosling’s man-with-no-name protagonist; leaving his face in the shadows when he is embracing his dark side, and warmly highlighting his features during the scenes with Irene and her son. DRIVE purports an often noirish and grindhouse style in what could have easily been just another straight forward action/thriller. However, it doesn’t feel like Refn adopts these styles in a superficial way, like many have before him; the characters belong to this world and would seem out of place in another setting. This is especially the case with Driver, who emanates a surreal – almost supernatural – aura. His dark and smouldering demeanour often evolves into a genuinely terrifying onscreen presence when his raw emotions come to the fore.
Refn’s compelling postmodern approach is discernible and effectively utilised throughout the film. Where another director may have shown the main characters as inherently good or evil, he blurs the lines between them and subsequently assists the actors in producing three dimensional, nuanced performances. The characters are all imperfect human beings who have made, and continue to make good and bad decisions. In terms of the narrative, his intentions are perceptible during a touching scene between Driver and Irene’s son, where they are watching cartoons together. The seemingly innocent dialogue between the two hints at a much more sinister subtext. This self-referentialism is another postmodern trait, which works well in the context of the film, and shows a self-awareness that is lacking in many Hollywood offerings of late. The pacing of the plot is also concise and consistent, using cause and effect in an organic way in order to lead the characters’ individual story arcs to their natural conclusions. This insures a cohesive story which is wholly satisfying for the viewer.
Gosling expertly conveys the extreme anger and violence lying just beneath the surface of his character (symbolized by the scorpion on the back of his racing jacket). Hardened by the cruel world, he is a man governed by situation and circumstance, who’s ability to change is shown through his relationship with Irene. This is not a particularly original state of affairs, but it does resonate with the viewer, and is dealt with in an innovative way. Irene is in a familiar quandary as well. She is a struggling mother, who is lost and lonely in a cruel world. However, she has a dark side of her own that seeks out danger, which assists in realising a believable performance and adds gravitas to the role. The film’s primary antagonist, Bernie Rose (Brooks), is an equally engaging character. He has chosen to be a criminal, but he is still sympathetic, and only resorts to violence when his own well being is threatened.
If there is one gripe about the film, it is that some of the supporting characters are rather clichéd. Nino (Perlman) is a foul mouthed criminal, who is thoughtless and greedy. Whereas Blanche (Hendricks) is your typical red-headed siren who has fallen into the hands of the mob. This criticism could be construed as pedantic however, because although they are not the most memorable characters you will ever encounter, they do drive the plot forward by creating conflict, and are therefore rendered necessary plot devices. Shannon is an example of a well rounded supporting character, and is portrayed by Bryan Cranston (CONTAGION, ‘Breaking Bad’). Cranston is enthralling as the pathetic, damaged, but loveable reprobate. As Driver’s boss, he heedlessly introduces him to shady characters, inadvertently ushering him into the dark underbelly of LA.
DRIVE succinctly highlights the profound influences human beings have on each other, and how the best of intentions can still lead to grim and shocking conclusions. The ‘80s electronica-influenced soundtrack (composed primarily by former Red Hot Chili Peppers drummer, Cliff Martinez) is fittingly invasive. It embraces the nature of the film, which jumps seamlessly from one extreme to the next, intensifying the experience with every beat.
Refn avoided many potential pitfalls when making DRIVE. Another director may have focused more on the – frankly trite – ‘love triangle’ aspect of the narrative. Instead he, as well as his cast and crew, have produced a visually thrilling and enthralling story, that is without a doubt, one of the best you are likely to experience this year.
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