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Drive - 22/5/2012 7:18:06 PM   
liamallen93

 

Posts: 8
Joined: 23/8/2011
Drive (2011)

Directed by: Nicholas Winding Refn

Written by: Hossein Amini (Screenplay)
James Sallis (Book)

Music by: Cliff Martinez

Starring: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks, Ron Perlman

The sexiest film of 2011, Ryan Gosling shines in this sleek, retro, violent crime caper.

Gosling is the nameless and seemingly reserved driver. A car mechanic/Hollywood stunt driver, who also moonlights as a getaway driver in a sparkling LA noir setting. The silent hero, he supports his neighbour Irene (Mulligan) and her young son while her husband is in prison. Trying to escape a shady past, the driver is drawn back into a world of extreme violence he is clearly well accustomed to, in order to protect his neighbours from local mafia. Soon enough, forks are stabbed in eyes and bullets forced down throats.
Danish Director, of 'Bronson' fame, Nicholas Winding Refn creates this escalation of violence in a world of ber style. Neon pink type face of the credits and title, an electronic soundtrack, the driver's retro scorpion jacket, Newton Thomas Sigel's moody cinematography; all give Drive a clean-cut (but blood spattered) 80's sheen. As much as their is blood shed, the portrayal of the paced romance between Gosling and Mulligan makes up the majority of the first half of the film. Wrought with subtle sexual tension and tender moments with Irene's son, set in slow motion to 80's-style tracks, the pair say very little. And when so much as a kiss is shared on screen, it is cut short by the stomping of a man's head, leaving very little left of him and to the imagination. It's almost as if the good intentions in the hesitation of their romance, and the lack of any sex, makes way for the violence.
As well as Mulligan's innocence and vulnerability, comedian Albert Brooks turns in an uncharacteristically menacing performance la Casino. Bryan Cranston also provides solid support as Gosling's mechanic friend and mentor. It is Gosling, however that 'drives' (apologies) the picture. Having given a reasonable performance in the equally reasonable and weepy The Notebook and an acclaimed performance in Half Nelson, Gosling embodies the sort of tortured, nameless heroes of old just as Clint Eastwood and Steve McQueen once did. Let it be known, Gosling is far more than just a pretty face.
Of course I should mention the driving itself, the main chase sequence harks back to McQueen's Bullit, bringing the audience in, making them care about the chase without the use of ridiculous technology and big explosions. And the opening getaway scene is sharply edited, creating a slow burn of crackling tension among the credits.
One man's 'mainstream' guilty pleasure is another man's European art-house outing. But ignore these principals, Drive is just a brilliantly crafted film.
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