Drive
One of the films of the year, no doubt whatsoever. Gosling is sublime.
The early buzz around Nicolas Winding Refn's Cannes hit Drive has been all positive, and happily it more than lives up to the hype. Drive is undoubtedly one of the films of the year.
The story concerns the unnamed “Driver” (Ryan Gosling), a Hollywood stunt driver by day who moonlights as a wheelman for hire. When he grows close to neighbour Irene (Carey Mulligan), he finds himself and buddy Shannon (Brian Cranston) at the centre of a gang conflict involving Albert Brooks and Ron Perlman, and has to use all of his wits to escape in one piece. It's a pretty simple plot, playing much like a Leone western, with the brooding, quiet anti-hero fighting a one-man war against corruption. It is this high concept approach which ensures the plot is effectively streamlined, allowing Refn's stylish direction to take centre stage.
With plenty of long takes and moving camera setups, Refn ensures the film remains gripping throughout its lean 100 minutes, with the director infusing the most mundane of scenes with a dynamism which sees us frequently on edge. The more kinetic action sequences are handled effortlessly, with an early pursuit through a streetlit cityscape setting the tone early on. Cutting almost to the beat of the music, it is a masterclass in getting the audience to sit up and take notice, and right from that moment we are hooked.
Gosling’s performance deserves the plaudits heaped on it in recent weeks – almost silent, and always with a barely-contained fury just below the surface, he is not only dripping with cool, but plays Driver like a caged animal, his slight smile at odds with the flicker of impending violence in his eyes. It is a first-rate central turn from the leading man, and not one which would be expected in a traditional action film. Cranston and Mulligan put in typically classy shifts as supporting characters, but the closest competition to Gosling in the film is Brooks – the most unassuming, quietly terrifying gangster seen in film for many years.
Drive’s soundtrack is another highlight, the ambient, pulsating music rooting the films influences in the exploitation cinema of the 70’s and 80’s, whilst remaining modern enough to stamp home that this is very much its own entity. It’s most certainly the best soundtrack of the year, and one which we have longed to have pumping out of our rather less glamorous motors ever since. Awards will and should be heaped upon it.
By no means is Drive an easy watch, however. The dark side of Driver’s nature does break through on occasion, leading to scenes of violence which unexpectedly penetrate the detached tone and almost force the audience to witness sequences which will gain obvious but entirely relevant comparisons to Gaspar Noe’s Irreversible. The result is a feeling of uneasiness throughout, reminiscent of this year’s Kill List. You never quite settle during the second half of Drive, which is by no means a bad thing.
One of our favourite films of the year so far, Drive is at once a tough, uncompromising watch and a joyous reminder of just what a talented director and cast can do. Art cinema with a serious punch, Drive is an absolute masterpiece.
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