Ryan Gosling said, when talking about Drive, that this was his superhero movie….and he might just be right. It pretty much is really, if you boil it down. Gosling plays a tightlipped, mysterious character who works as a mechanic by day, and moonlights as a stuntman and a getaway driver for thieves by night–sounds like a “superhero-esque” character to me. The director, which you may or may not have heard in passing, is Nicholas Winding Refn, a Dane most notoriously known for Bronson and Pusher. To say his films are fast-paced and in-your-face would be an understatement, but that’s precisely what gives them such appeal, much like Tarantino. However, he’s also very capable of creating something more lyrical (but violent), like Valhalla Rising, which is far more akin to Herzog. I will say, without a doubt, that Drive is the best film of the year. Refn has crafted an endlessly watchable film with stellar photography, a good script and a silent, brooding performance by Gosling.
It’s difficult to not be drawn into the atmosphere of Drive. It begins with a pulsating soundtrack, using 80’s style beats with a heavily synthesized voice and a Miami Vice type atmosphere, mixed with Grand Theft Auto. There’s a definite sense of style here, and with the overhead shots of Los Angeles, the nods are even more obvious–not to mention the bright, neon pink font that’s used in the title. Gosling is on a mission, but he’s just the driver; that’s his code, as he states in the voice over. Much like many superheroes, “The Driver” goes by a strict code–his only weapon is his ability to drive, which might really be just as dangerous. Startlingly sparse on car chases, even with a beginning involving a getaway, Refn ratchets up the drama by The Driver’s clever techniques and driving capabilities–his prowess is clearly visible, despite the absence of high octane chases. From the moment he starts shifting gears, turning off the headlights to avoid capture, it’s a riveting introduction.
Drive’s script is fairly simple and straightforward. It’s as simple as guy falls in love with the girl, while her husband, Benicio (Kaden Leos), is away in jail, until he returns. What’s great here is not really even the script (though it is solid and very tight): it’s the chemistry between Gosling and Carey Mulligan (Irene). At first glance, it seems to be a pretty masculine movie, but it really is more than that. It’s not Vanishing Point. There are several extremely poignant scenes with Irene and The Driver that really counteract the violence. That’s exactly what makes it work so well. Their relationship is heartfelt and real. In fact, one of the best scenes in the entire movie is a scene between Gosling and Mulligan.
Upon his return from jail, Benicio is confronted by his old group. They want him for one last heist–and they won’t take no for an answer. Out of sympathy and love for Irene, The Driver chooses to help him. But, of course, this goes deeper than it seems to. On the side, a mob is involved with Shannon (Bryan Cranston), who’s The Driver’s boss. The mob consists of Ron Perlman as Nino and Albert Brooks as Bernie Rose, two vicious people with their own interests (of course) at heart. Shannon has had a tumultuous history with Nino and Bernie, and you can tell by the limp and his cane. Shannon wants to build a race car because of The Driver’s abilities, and Bernie, however skeptically, agrees once he’s seen his talent.
I may sound like a broken record, but I’ll say it again because it deserves that much praise: Drive is unequivocally the best film of the year, which is saying a lot considering how much I loved Rango. Indeed, the script is not original, but it nevertheless carries a lot of weight, especially with the two great leads, Ryan Gosling and Care Mulligan, who shine. Without them, it would not have worked as well as it does. A perfect mixture of action and solid storytelling make Drive an undeniably enjoyable experience. Drive is one of those films that hooks you, and you’ll even find yourself humming the track “Real Hero” by College. I know I was.
