Movie Review: Drive

The plot of Nicolas Winding Refn’s first major Hollywood film, Drive, isn’t exactly anything new.  The main character, simply known as “The Driver”, has a day job as a Los Angeles stunt driver.  By night, he drives getaway cars for anyone willing to pay.  But unlike films with similar storylines, Drive has depth.  It manages to separate itselfs from typical action/driving films in a way that is wholly unique.  The plot of the movie takes on an almost mythological, fucked-up fairy tale quality, making it one of the most interesting, original cinematic works of the past few years.

Ryan Gosling is a force as The Driver, a character who is almost more of a personification of the vehicles he operates than a living, breathing emotional character.  While Gosling clearly is aware of Driver’s potentially rough past (which is never stated implicitly), he plays him off as more of a machine.  While there are hidden emotions under the surface, everything about him outwardly seems very calm and calculated.  The Driver mostly emulates through his eyes.  Whether it’s a scene with his neighbor/love interest, Irene (played by Carey Mulligan, who is more impressive for what she doesn’t do than what she does) or one of the film’s few, but memorable, violent scenes, everything feels like clockwork.  And when he does snap, it’s both disturbing and memorable.

While Gosling clearly is running the show acting-wise, the supporting cast is excellent.  Bryan Cranston couldn’t be further from his character on Breaking Bad as Shannon, Driver’s teacher, business partner, and father figure.  Irene and her son Benicio are the only people who seem to be able to bring some humanity out of Driver.  Ron Perlman and Albert Brooks play Nico and Bernie Rose, two parters-in-crime (literally) who Driver ends up getting caught up with.  Brooks manages to be both humorous and frightening in an atypical role that is giving him a lot of attention.  Each character manages to have emotional depth yet an almost mythical quality.  The events unfolding are almost accessories to the Grimm Brothers-esque characters.  Driver is the hero.  Irene is the princess who needs saving, Shannon is the wise old tutor, Bernie and Nino are the evil monsters.  It’s interesting how each character seems like a unique twist on these stereotypical characters.

But where Drive really shines is its atmosphere.  The film takes place in present day Los Angeles, and everything has a very surreal quality.  It’s all about the mood and feeling of each scene – the space in between short, concise lines, the creation of intensity with minimalism.  It is wonderfully shot, and the film manages to portray LA’s beauty in a unique way.  The stylization and music invokes 1980s cinema, from it’s dancy synth-pop to the bright purple font.  All these elements come together in a fulfilling way.

While some people may be put off by Drive‘s minimalist, silence-heavy style, it’s truly an interesting experience.  It’s a film that manages to transcend genre lines and use familiar elements in unique new ways.  It’s less flash and more substance, and in that way Drive truly shines.  But most of all, it’s cool.  Enjoy the ride.