Skip to main content

Ryan Gosling is so damn cool in "Drive," as is the entire film


Drive (2011)
100 min., rated R.
Grade: A

Smooth, alive, aurally and visually stylish, and cast to a fare-thee-well, "Drive" is only a genre piece on the surface. It's a lot more than that; a neo-noirish crime thriller, a character study, a love story, and a mood piece that completely envelopes you in its atmosphere. Also, it's sitting pretty as one of the best films of 2011. Danish director Nicolas Winding Refn is known for combining pulpy violence with arthouse aesthetics. 2008's bonkers, expressionistic "Bronson" was Refn's calling card and an explosive "A Star is Born" showcase for Tom Hardy's talents, and now "Drive" is his first cinematic symphony. 

Ryan Gosling, known only as "Driver" and sometimes called "kid," is a force of mysterious cool as a part-time mechanic/movie stuntman who moonlights as a getaway driver. He has no real family and doesn't really come from anywhere, but he's lived in Los Angeles for a while and knows his way around the streets as well as he knows his automobiles. Wearing leather gloves and a silver racing jacket with a gold scorpion embroidered on the back, and a toothpick wedged in between his lips, Driver always has a clean escape when it comes to driving and outsmarting the cops. Once he gets involved with his neighbor down the hall, Irene (Carey Mulligan), and her son Benicio (Kaden Leos), Driver is respectful towards the mother and son, and offers a helping hand. When the husband and father, Standard (Oscar Isaac), gets released out of prison and expects to pick up where he left off with Irene and Benicio, the driver politely keeps his distance, until Standard gets in trouble with his "former" thug life. The driver takes on a job that will clear Standard's debts but put his own butt on the line. 

When we first meet Driver, it's in the film's spectacular drive-and-escape sequence, as sleek and methodically paced as everything else. Once that job is over, the next shot of Driver has him dressed in a police uniform, but it's a gag: he's at work on a movie set. Emotions may be hidden under a mood of style and brutality but surprisingly run deep with the unspoken bond between Driver, Irene, and her son. We actually care what happens to this potential family unit. Driver is a man of few words, so the challenge falls upon actor Gosling to add depth and charisma to a cipher, using his own devices. Cracking a smile on occasion and rarely blinking, we can see into Driver's soul and eventually his bottled-up intensity explodes like a pop of a cork. Making the ambiguiety compelling, his actions speak a lot louder than relying solely on what's written through dialogue. That's not to say Hossein Amini's screenplay, based on James Sallis's book, is underdeveloped because most, if not all, of the dialogue pops and the twisty neo-noir plotting can't be predicted. 

As Irene, Mulligan is sweetly damaged and resonant, even given a limited character on the page. Her courtship with Gosling is so beautifully conveyed without so many words. Bryan Cranston works wit and emotion into his supporting role of Shannon, the kid's garage boss and mentor. Ron Perlman, in showy Joe Pesci mode, chews the scenery as Nino, a loud, hotheaded mobster working in his own pizzeria. And Albert Brooks's turn as Bernie Rose is deliciously deadly, like you've never seen the comic veteran before. He's especially frightening and blackly humorous when he takes his anger out using kitchen utensils. With only an odd five minutes' worth of screen time, Christina Hendricks even makes a memorable impact as a skanky, gum-chewing dame named Blanche, also involved in the job. 

"Drive" recalls early Michael Mann ("Thief") from the hot pink, lipsticky credit font to Cliff Martinez's pulsating, '80s-tinged synthesizer music score and songs. Director Refn masterfully commands this material with an eye for compositional detail and a real filmmaker's craft to create a dreamy, hypnotic mood. Beautifully quiet calm builds the tension, punctuated by sudden bursts of Quentin Tarantino-esque ultraviolence that will provoke shock laughter. "Drive" isn't really about driving, although the car chases are the most exciting and cleanly edited you'll ever see since 2007's "Grindhouse." There's a lyrical, heart-pounding scene in an elevator, in which Driver grabs a romantic kiss from Irene before he knocks out one of the henchmen and beats his face in with his foot. 

From the school of "show, don't tell" filmmaking, "Drive" is a fantastic entertainment and an electrifying work of art that should make Refn a household name. 


Comments

  1. I gain more respect for Gosling with each new role he takes on. It is absolutely mind boggling that he was the nerdy fool on Breaker High and briefly the title role in Young Hercules. I love the fact that he's described as super cool now and gets these awesome leads.

    ReplyDelete
  2. hey, I was just bragging about Young Hercules last week!

    Ryan was SOO GOOD in "the Believer" Like scary good. Respekt

    ReplyDelete

Post a Comment

Popular posts from this blog

"Chang-E" - Emmy the Great (new album out 10/9)

Emmy the Great drops her new album tomorrow on Bella Union - the fastest album she says she's ever created.  "April /月音" was completed after a trip to to her birth city Hong Kong in 2017. In early 2018, Emmy the Great made "April /月音" in a two-week period in Brooklyn - which was delayed for release until now because of her maternity leave. After recording this album, Emmy moved (for good) back to Hong Kong.  Since her original trip to Hong Kong, things have become quite tumultuous there. Said Emmy. "I’ll never know why the city called me back, but I know what it gave me. In return, I want to give it this album. That Mid-Autumn, nobody could have predicted what was to come, neither the atomization that began with the anti-Extradition Law protests in June 2019, nor the struggle for democracy that continues now, through the Covid-19 pandemic. To witness your birth city in its greatest moment of need is a powerful, humbling event, and I know I watched Hong Kong

Give JR a Break

Recently, I've been reading some sites that have criticized James Roday, the lead actor on the USA show PSYCH for an apparent weight gain. But you know what? Who gives a flying fizzle stick if James Roday is slightly larger than he was 4 years ago. Apparently, it wasn't enough to scare away his current girlfriend/ co-star Maggie Lawson. (Who is one hell of a Catch!) And NO they are not engaged. That seems to be nothing more than a rumor, but there is a very high chance of it happening in the near future. Anyway, as long as PSYCH continues to entertain I don't mind about James Roday's waist. He, and Dule Hill, and Corbin Bernson too, can eat all the fried broccoli they want. The last episode of PSYCH wasn't so smashing, but I don't blame it on dietary issues. QATFYG: Are you keeping up with Psych? And who is hotter, James Roday or Maggie Lawson? (Trick Question but idk why) PS: If you have heard any more news on Roday and Lawson becoming Roday-Lawso

movies you should see: hiroshima mon amour

Hiroshima, Mon Amour this movie has been on my mind a lot lately, due to the recent events in Japan. when I saw it about a year ago, it easily made an impression on me. easily. it was just so beautiful, in every way thinkable. it follows the story of a French actress and her Japanese architect lover, having a conversation together as they lie in bed. the majority of the film is told in flashbacks of their lives in WWII (the film was made in 1959, so there's a ten year gap there). he was directly affected by the dropping of the atom bomb in Hiroshima; she was ostracized due to her involvement with a German soldier. the reason I was propelled to see it was the song "Burning Hearts" by My Favorite- "I was an architect, she was an actress, I drew the Eiffel Tower upon her dress." (really good song too, by the way! RIP My Favorite). luckily, you can find the movie online. here's a portion of it: I HOPE YOU LIKE READING FILMS it's given credit (so I am