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rough ride [movie review :: drive]

when i first saw the trailer for "drive" and heard that the man at its helm, dane nicholas winding refn, had been honoured at cannes with both a standing ovation and an award for best director, my first thought was "really?" because to me, the trailer looked like it could have been made for any slick action-noir, something made to draw in the slightly edgier summer blockbuster audience, but hardly the sort of thing that would wow critics. according to dom, however, who's much more plugged in to the goings-on of the film industry, the word was that "drive" was really something special, something potentially revolutionary that would mark cinema for years to come. i have to admit that, although i usually take what he says very seriously, i was still kind of skeptical. i finally convinced myself that it must simply have been the victim of a highly unimaginative trailer and that i was getting the wrong message.

as soon as the film starts, it's difficult not to immediately be struck by its visual language. winding refn has described his project as a sort of fairytale and, certainly, the setting seems to be some neverland-ish view of modern los angeles, all contrasts of garish lighting and shadows, human figures scuttling through it like foraging rats. against this, ryan gosling's nameless protagonist glides with a steely calm that illustrates his darwinian superiority- he has adapted to the conditions of life in this world and found a way to flourish.

well, flourish might be an understatement. as the film's credits roll, we find out [if we haven't already found out through the trailer] that he works as a mercenary getaway driver for criminals who are willing to pay his price and abide by his strict rules. the initial sequence, where he chauffeurs a couple of stress-addled thieves from the scene of their crime, is a flourish of directorial brilliance. it serves to immediately submerge the audience in the driver's world, but it's also a perfect introduction to the character himself. one of the film's only car chase scenes, it is less about battles of speed or force than it is a study of his methodical intelligence, where everything, even the radio he listens to, serves a purpose. by the end of the sequence, we know as much about the central character as we might in an hour of hearing him speak.

of course, we also soon find out that he has a daytime existence as well, where he works as a mechanic in a specialist's garage and does stunt driving for movies, in partnership with a gimpy father figure who dreams of achieving financial success for both of them through professional car racing. he lives a monastic sort of existence in a spartan apartment, where his connection to the "real world" is found in the form of a wordless, boyish crush on his neighbour, carey mulligan.

in contrast to his young protege, gosling's mentor is verbose, constantly and ill-advisedly talking, especially to gangster bernie rose, played by albert brooks in a much-lauded performance.

from these seeds, we can see clearly where things are heading: the driver's success is a product of his hermitic lifestyle and as circumstances conspire to link him to the outside world, things become more and more problematic.

to his credit, winding refn takes exquisite care in crafting his scenario. although it's clear that there's tension ahead and what its catalysts will be, "drive" takes its time, allowing us to enjoy the ride. the atmosphere created is like an unpleasant dream; you know that something is wrong, even though the unease has not yet resolved itself into visible form.

however, from the moment events start to rain down on the characters we've come to know, the film seems to lose its way. its stylishness, which does such a great job in augmenting the unreal atmosphere for the first part of the film, grows shallow as it degenerates into a sort of muddled crime-gone-bad caper. as much as the first part of the film promises that, even though we know what's going to happen, the filmmakers will find a way to surprise us, the last section falls a bit flat as we realise that we knew where things were headed all along.

"drive" has much to recommend it. it's a lush feast of visuals and is worth watching for this alone. gosling is solid as the controlled anti-hero whose repressed emotions are constantly threatening to erupt and ruin everything. mulligan is his perfect counterpart, sweet but with a martyr's sense of duty and a similar need for control and stability.

brooks, always under-rated as an actor, is a lot less terrifying than early reviews had lead me to believe. rather than being vicious and without conscience, he comes off more as an unbendingly pragmatic middle manager, someone who works within corporate rules, even though that corporation is a criminal syndicate. his performance, while spot-on, is representative of the film's confusion: is his character an actor behaving as he must in a world of pre-ordained effects or is he the real villain in the director's dark fairytale? the former would be an original angle, but it seems like he is supposed to be the latter and things fall a bit short.

"drive" isn't a typical action film by any means. it's clearly more linked to moody, often unsettling works like "the krays", "no country for old men" and "taxi driver", whose influence looms large over every part of refn's opus. it's easily enjoyed, moderately smart and stunning to behold, but it is not a cinematic revolution.

"drive" is currently available on blu-ray and dvd. it's nominated for an academy award for achievement in sound editing.

Comments

Alyssa said…
Great review! I have read many good things about Drive in other blogs and now based on what I have read in yours, I definitely think it is time I check it out. It sounds like a very intriguing movie and the fact Ryan Gosling is in it does not hurt either, lol. I saw that it was available on PPV in HD through my Dish subscription, so I think I will watch it that way. I’m actually glad I waited until it became available in HD because honestly with the prices of movies these days and the picture quality in theaters, I feel I get greater quality in my HDTV and Dish subscription than I would in the movie theater. I don’t know if it’s just me, but I guess it’s the beauty of at home technology. A couple of my co-workers at Dish recommended I check out The Ides of March too since it also stars Ryan, do you think it is worth ordering as well?
Kate MacDonald said…
Thanks Alyssa, I'm glad you enjoyed it! I have to admit that I rarely go to theatres any more. It just seems like a much better deal to watch at home, where I can have the best seat, no one will talk around me, I can eat what I want and I can pause the film if I have to.

Ides of March is good- Gosling is excellent in it as well :-))- but I preferred Drive overall. I actually did a review of The Ides of March as well:

http://morelikespace.blogspot.com/2011/11/hypothetical-situation-room-movie.html

as long as you're here, why not read more?

jihadvertising?

i keep seeing this ad for tictac candies:



am i the only one who finds the suicide bomber clown at the end a little unnerving? all the nice natural things like the bunny and the [extinct] woolly mammoth and the fruit get devoured by a trying-to-appear-nonthreatening-but-obviously-psychotic clown who then blows himself up. congratulations, tictac, i think this ad has landed you on about a dozen watch lists.

oh and by the way, showing me that your product will somehow cause my stomach to explode in a rainbow of wtf makes me believe that doing consuming tictacs would be a worse dietary decision than the time i ate two raw eggs and a half a bottle of hot sauce on a dare.

making faces :: hot stuff, comin' through

i don't even know what to say about the weather. the end of september saw temperatures at a scalding 36c/ 97f outside. this is especially annoying because we've had a moderate summer. most days it rained a little in the morning, the temperatures didn't creep into the 30s too often and there wasn't the normal stretch of a few weeks when it felt like we were living on the sun. now, we've receded into more normal fall weather, although it's still on the warm side for mid-october. that climate change thing is a bitch.

trying to think of something positive in the situation, it does put me in a perfect frame of mind to write about urban decay's naked heat palette. it's the latest in what appears to be an endless series of warm neutral and red eyeshadow palettes that have followed in the footsteps of anastasia's modern renaissance. [which i ultimately decided i didn't need after doing a thorough search of my considerable stash.] i do think that it'…

i agree, smedley [or, smokers totally saved our planet in 1983]

so this conversation happened [via text, so i have evidence and possibly so does the canadian government and the nsa].

dom and i were trying to settle our mutual nerves about tomorrow night's conversion screening, remembering that we've made a fine little film that people should see. which is just about exactly what dom had said when i responded thusly:

me :: i agree smedley. [pauses for a moment] did you get that here?

dom :: no?

me :: the aliens who were looking at earth and then decided it wasn't worth bothering with because people smoked even though it was bad for them?
come to think of it, that might mean that smokers prevented an alien invasion in the seventies.

dom :: what ?!?!?

me :: i've had wine and very little food. [pause] but the alien thing was real. [pause.] well, real on tv.

dom :: please eat something.

of course, i was wrong. the ad in question ran in 1983. this is the part where i would triumphantly embed the ad from youtube, except that the governmen…