Drive (2011)

Driver (Ryan Gosling) is a Hollywood stunt driver who has a lucrative side-project. For the right price, he can be hired as a personal driver. He gives the client a five-minute window. Whatever happens in that window, he’s their driver no matter what. Miss it and he’s gone. As you can imagine, this kind of job offer is mostly filled with getaway driving duties. Driver takes an interest in his apartment neighbor, Irene (Carey Mulligan), a young mother. Her husband (Oscar Isaac) has just been released from prison and already feeling heat to pay his debts. He gets winds of a pawnshop holding a million in cash. Driver offers his services to square the guy’s debt and to keep Irene and her son safe. But of course things go wrong, as they tend to in these sorts of pictures, and Driver is left with a sack of money and two very angry gangsters. Nino (Ron Perlman) and Bernie (Albert Brooks) would like the money back and to eliminate the number of people that know about their involvement in this scheme.

Drive is being sold as one kind of movie, a high-octane action thriller with plenty of car chases, when it’s really a European art-thriller paying fawning homage to those kinds of movies. That means that Drive plays out much more placidly and contemplatively with sudden bursts of gruesome violence. My audience seemed to grow restless with the purposely plaintive pacing so when the violence exploded they would laugh or cheer, happy that something of conventional entertainment value was finally occurring. I was growing restless myself, not with the infrequent appearances of genre action or the artistic flourishes, but just with the prevalent pauses. Danish director Nicolas Winding Refn (Bronson) will have his camera hold onto a scene for several seconds longer than what feels necessary, or he’ll shoot dialogue between actors and Gosling will pause a full 20 seconds before answering. I understand that Refn is establishing a stoic loner akin to Clint Eastwood’s celebrated stable of strong silent types, a modern American cowboy. I’m sure that you could cut 10 minutes of out the film just from snipping these extended pauses and overlong shots, moments that seem to be filling time and giving the audience an opportunity to step outside the movie. I doubt that was ever the intent but it’s certainly the effect. When a scene or camera shot holds on longer than it should, we can feel it, and when it keeps going we start to wonder why, and when an answer is absent then we start to snicker or second-guess the artistic choices. I’m sure audiences that watched Drive will probably be scratching their heads wondering why there isn’t more, well, driving.

The action that does appear onscreen is extremely well choreographed. The car chases thrill and the edits allow for full audience orientation. You know what’s happening and you know what’s at stake. And we care. A car chase after a botched robbery is particularly exciting when Driver starts driving backwards to block his opponent’s view of the road. The opening chase sequence is notably almost an anti-car chase. Driver is listening to a police radio and choosing when to duck around side streets and wait out the patrolling cop cars. The tension isn’t watching one car chase another, it’s watching one car idly sneak away. What I’ve described, however, is about all the movie offers for car action, though Driver does ram one motorist off a ravine later.

You can tell Refn is a fan of Hollywood genre films, and Drive takes typical thriller tropes and puts them through an art-house prism, bringing a near Kubrickian level of beauty to the violence. Drive is a gorgeous movie to watch; the shot selections, the chiaroscuro lighting, the use of the 80s style Euro-synth score by Cliff Martinez (Traffic, Contagion), it all coalesces into a near hypnotic blend of visual and sound. It’s a beatific landscape even when horrible things are going on. There’s a sequence where Driver, Irene, and one of Nino’s thugs are in an elevator together. Driver notes the imminent danger and slowly motions Irene behind him. He then turns and kisses her, and while he does this the elevator lighting seems to brighten and darken, like it too is being charged through the power of a kiss. And then Driver sharply pivots, blocking the thug’s attack, knocks the guy to the ground and stomps on his head until it bursts. The looming violence is teased through slow motion, and then it hits with the power of a crescendo. The violence is always looming, always seeming to be just on the cusp of an explosion. But under Refn’s direction, the movie fulfills that audience bloodlust in unexpected ways. Instead of a big fight, Driver casually drowns one of the toughs in the surf of a beach. Instead of a brutal elimination, Bernie dispatches someone with what can almost be described as compassion, slitting a major artery and whispering, “It’s done. It’s all over. There’s no pain. Just let it happen.” Even the big showdown between Driver and Bernie plays out with flash-forward edits, giving the meeting an extra level of gravitas knowing what awaits when they leave the table.

Refn has created a beautiful movie, it’s just that it has so much empty space pretending to be nuance. And that’s the rub. I appreciate an art-house sensibilities elevating and celebrating classic American genre pictures. I though Joe Wright did an excellent job of this with Hanna earlier this year. However, Refn shortchanges his actors. The script by Hossein Amini (The Four Feathers) is light when it comes to character detail. Again, this might be because Refn wishes to make a statement on genre films by having his movie populated with genre types and sticking to this limited route of characterization. Whatever the rationale, it makes for some pretty elusive one-note characters. Irene is less a character than a symbol of innocence. It doesn’t help matters that Mulligan has little chemistry with Gosling. Nino and Bernie are interesting characters who have such unspoken histories. They’re mid-level criminals stationed out of a cheap pizza joint in a strip mall. Nino is tired of the criminal higher-ups always disrespecting him. Bernie used to be a movie producer in the 80s, and may have bankrolled something like Drive. He hates getting his hands dirty but he shows an eerie talent for violence. These small glimpses are hints at something more, but that is all Hossein and Refn leave us with.

Gosling (Crazy, Stupid, Love) has very little to say in the film. He probably only ever speaks 80 words, but brevity does not mean he’s just sitting around. Gosling goes for understated in a genre known for histrionics. He plays things very close, a taciturn mystery man. The existential drifter. Gosling sure knows how to hone his flinty stares. Mulligan (An Education) gets very little to do in the film, so it’s another round of her crinkling her pretty face and blinking those glassy eyes. Christina Hendricks (TV’s Mad Men) also appears as a third wheel on the pawnshop scam. The real surprise is Brooks (The Muse). The famous comedian is shockingly believable as somebody you don’t want to cross. Even when he’s trying to be cordial there’s a veil of menace. If only there was more to his role. I would have loved to see him regrettably step back into his past, taking care of business with ruthless yet disdainful efficiency.

Drive is an action thriller that’s more a Euro-infused commentary on the genre. Fans of Hollywood action will likely be put off by the elusive characters, the sluggish pacing with numerous pauses, and the overall art-house nature of the finished product. Refn’s movie is beautiful to watch, with intricate precision taken to making the imagery and sound design mesmerize. If only that same level of care was paid to character and plot. We’re dropped into this criminal scenario and left to flesh out the characters given the hints and nods we accumulate in 100 minutes. I don’t need to be spoon-fed but I’d like my movie to have better attention to character than ambiance. Drive is a beautiful looking vehicle that just doesn’t have any particular place to go.

Nate’s Grade: B

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About natezoebl

One man. Many movies. I am a cinephile (which spell-check suggests should really be "epinephine"). I was told that a passion for movies was in his blood since I was conceived at a movie convention. While scientifically questionable, I do remember a childhood where I would wake up Saturday mornings, bounce on my parents' bed, and watch Siskel and Ebert's syndicated TV show. That doesn't seem normal. At age 17, I began writing movie reviews and have been unable to stop ever since. I was the co-founder and chief editor at PictureShowPundits.com (2007-2014) and now write freelance. I have over 1400 written film reviews to my name and counting. I am also a proud member of the Central Ohio Film Critics Association (COFCA) since 2012. In my (dwindling) free time, I like to write uncontrollably. I wrote a theatrical genre mash-up adaptation titled "Our Town... Attacked by Zombies" that was staged at my alma mater, Capital University in the fall of 2010 with minimal causalities and zero lawsuits. I have also written or co-written sixteen screenplays and pilots, with one of those scripts reviewed on industry blog Script Shadow. Thanks to the positive exposure, I am now also dipping my toes into the very industry I've been obsessed over since I was yea-high to whatever people are yea-high to in comparisons.

Posted on September 18, 2011, in 2011 Movies and tagged , , , , , , , , , . Bookmark the permalink. Leave a comment.

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