"I don't sit while your running it down. I don't carry a gun...I drive." - The Driver
I want to take you through the thought process of the 2011 version of me after watching this tv spot for Drive
Now I'm paraphrasing a bit, but I think my reaction went something like, "....meh". At the time, Ryan Gosling to me was pretty much a non-entity in the cinematic universe. Obviously, this was a misinformed and all-around absurd opinion, but it was my opinion nonetheless. Ignorant to his stellar performances in 'Half-Nelson', 'Blue-Valentine', and 'Lars and the Real Girl', I immediately associated Gosling as that scrawny white kid in Remember the Titans who got his spot jacked by Turk from Scrubs and as the cape-dawning savior of chivalry in the insufferable overly melodramatic 'The Notebook'. Also, he was that kid who couldn't sing or dance but somehow got a gig on 'The Mickey Mouse Club' along side JT and Britney Spears, (It happened, look it up...or don't, your loss). Needless to say, I didn't think too highly of the guy. Couple that with the fact I completely misinterpreted the film's plot as being that of the Fast and Furious rip off, Drive was relegated to 'I'll just catch it on DVD' status. When I did happen to catch it on DVD (actually, Netflix), it's safe to say my life was changed for the better. That's not hyperbole either. We're currently living in a post-Drive world and it's awesome
Now I could give you a handwritten (typed, whatever) synopsis of the film, but this ill-conceived trailer does a much better job of it.
Actually, I will give a handwritten. Drive follows the story of the Driver, an L.A. stuntman who runs a side operation as a getaway driver with the help of his motormouth associate Shannon (Walter White Heisenberg Bryan Cranston). Shannon plans to bring in some extra cash via the stock car circuit by exploiting the Driver's expertise with the financial backing of West Coast mobsters Bernie Rose (Albert Brooks) and Nino (Ron Perlman). All is well until the Driver befriends his female neighbor Irene (Carey Mulligan) and her adolescent son Benicio. After weeks of scenic drives and two word conversations, Irene's husband Standard (Where's the deluxe version?), returns from prison and all hell breaks loose. Standard owes protection money to a gangster named Cook from when he was incarcerated and is under constant threat until he pays up. The Driver steps in to offer his assistance and the two are forced to rob a pawn shop to repay Standard's debt. I'll avoid the rest for spoiler purposes (I actually spoil the movie all throughout the piece, so yeah). I discuss the plot strictly for contextual purposes because to be honest, the plot is not where Drive makes its mark. Granted, the highly-stylized LA noir has a remarkable plot with many a twists and turns, but its not why the film has achieved its cult status. The easily digestible plot allows for director Nicolas Winding Refn to focus on placing his charactters in visually arresting and emotionally poignant scenarios.
First and foremost, Nicolas Winding Refn is a gawd for providing us with this classic art house project. Despite the stellar performances by everyone who was given a credit in this movie, without his vision this movie does not have the impact that it does. His secret to telling this narrative is that he never strays from the human story that holds all of the madness together. In a movie entitled Drive centralized around a getaway "driver", Refn toys with the audience and gives us just two, albeit masterfully shot and directed, getaway scenes. Moderation is Refn's key to unlocking a much more intriguing narrative; the grounded, human story of the Driver. Instead of bombarding the audience with set piece after set piece, Refn focuses on the much more compelling story of a man and his quest for emotional fulfillment. By never losing track of this narrative, he is able to sprinkle these extreme instances of violence almost to compensate for its relative absence. It's why seeing a man's head stomped to fragments or a women's head blown off with a shotty at point blank range is startling but also rewarding. It's like his gift to the audience for allowing him to defy the tired tropes of the genre and instead give us a riveting character study. Now to the acting.
Refn and Gosling somehow managed to create one of the most iconic film characters in recent memory with what probably amounted to just ten pages of dialogue. Gosling's minimalist performance oscillates between captivating and charmingly awkward, but never comes across as cheesy. It fits the mystique and mystery surrounding the character perfectly, plus actions speak louder than words anyways. I mean, why spend five minutes talking a guy's ear off for classified info when you can simply break his hand with a hammer? Or maybe drown him with your bare hands in beach water? He's the centerpiece to this grand spectacle that drives (punny) the narrative home. Gosling transitions from heartless to humane seamlessly thus making the Driver's character arc that much more fulfilling and believable. Plus, he's just flat-out cool as hell. `The Driver radiates this undeniable self-awareness and confidence that makes him such a gravitating figure. Who else can pull off that satin jacket with a scorpion on the back and a toothpick hanging out of his damn mouth just because? It's the 80's rebellious chic reborn, and with anybody else it's a failed attempt at an egregious fashion statement. With the Driver, its just right.
Now, for me personally, a movie will always leave an impression if it includes an inventive soundtrack that compliments the visual narrative. It's why I hold such films as the 'Social Netwok' and '500 Days of Summer' in high esteem. The right music at the right time can give a scene a depth that simply cannot be achieved through visual means. So it comes as no surprise Drive is not only successful in this balancing act, but it flaunts its musical awareness and ingenuity at any and every opportunity. As stated earlier, it isn't enough simply to have a cool song playing while the visual action exists in its own entity. The best scenes incorporate the two as complimentary. The music is meant to enhance the scene rather than take away from it. A number of scenes throughout the film fit this criteria.
"I don't eat/ I don't sleep/ I do nothing but think of you"
Both scenes depict the Driver in seemingly contradictory ways. The latter scene shows him at the beginning of the film at his most inherent state; that of a cold, calculated android-like being. The sparse electronic groove coupled with the masterly crafted getaway further cement his robotic demeanor. The former scene however, shows a man longing, at conflict. At this point of the film, Irene's impact on the Driver's life of solipsism is apparent and the lyrics profess our hero's dilemma. Its this awareness of the characters and their motives that makes the music such an asset in the film. Without these songs, the scenes are not as powerful. But the song of the movie and essentially the film's thesis statement is undeniably:
(can't find a link to the other scene, but just know it's awesome)
"A real human being"
These might be my two of my favorite movie scenes of all time. Seriously. Now to give these scenes some context, I'll reference a statement made my Refn regarding the intended point of Drive. "He drives around in cars all night and his emotional relief is pop music." I'd say about half the film consists of these shots Refn is referring too. The film is littered with these hazy, surreal sequences of the Driver navigating the streets of LA with no intended destination. They may initially appear to be derivative from the plot, but these drives give the viewer a chance to see the Driver at his most humane. So not only does he take solace in driving, but its almost as if he's not programmed to know anything else. Thus, when Irene enters his life, he is introduced to the world outside of driving. The song is played twice. In the first sequence we are shown a real human being. The scene reminds us that our hero is in fact human and seeks emotional connection just as we do. It is our first glimpse at the Driver as truly mortal and capable of sentiment. The second sequence shows us the hero. A man who has finally found a cause worth dying for. Despite forming a connection he may never again experience, he sacrifices his happiness for that of Irene's. That my friends, is a real hero.
This got lengthy (ain't nobody got time for that) so I'll just make a few more quick points.
- Albert Brooks's menacing/hilarious performance as Bernie Rose should've gotten him a supporting actor nod at the oscars.
- Brooks voiced Marlin in finding Nemo...yeah, acting range.
- I kind of want to marry Irene, but not Carry Mulligan if that makes sense.
- Benicio won that staring contest in the garage. The Driver's a liar and a cheater.
- Ron Perlman's character's name was Nino. I REALLY hope this is a reference to New Jack City.
- Also, Perlman plays a goon in all of his movies and I love him for it.
- Christina Hendricks has very large breasts...like, huge.
- Only God forgives (Gosling/Refn reunion), July 19th baby...CAN'T WAIT!
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