“Drive” (2011)
“You put this kid behind the wheel, there’s nothing he can’t do”.
“You put this kid behind the wheel, there’s nothing he can’t do”.
When Drive was released here in the UK during the late embers of Summer in 2011, it wasn’t scheduled to play in my hometown seemingly before years end. Frustration turned to cinematic fortune as the nearest cinema to me showing this Nicolas Winding Refn directed tale of unrequited love and heart breaking betrayal was also showing Kevin Smith’s brand new release Red State, and I was as eager to see this as I was with Drive.
So over a decade ago I went to arguably a “Double Bill” from movie heaven!
And so a decade on, here I am re-releasing my adoration for this film, and as part of a “Double Bill” as I’m re-releasing my thoughts on Red State too and for much the same reasons as I am here with Drive: Every time I think of that cold, winter, non-descript night 40 miles from home, watching two eagerly awaited films back to back, my memories of the films themselves as well as the spoiler free review penned below, all of these combine to simply make me smile.
Drive is reproduced in full below and is taken from the much larger article linked at the bottom of the paragraph. Originally started a decade ago and subsequently added to with the releases of Only God Forgives and The Neon Demon, this remains an entire cataloguing to date of the cinema career of Nicolas Winding Refn. In my elongated look at the five films directed by the visionary from Copenhagen you can read my musings on a young Tom Hardy as you’ve never seen him before in Bronson, a slightly older, but much bloodier Mads Mikkelsen in Valhalla Rising before the Danish director hits his bloodiest and most controversial stride here with Drive, Only God Forgives and 2016’s The Neon Demon.
Nicolas Winding Refn — 5 works of Cinematic Art
“Bronson”, “Valhalla Rising”, “Drive”, “Only God Forgives” and “The Neon Demon”. All lovingly appreciated and spoiler…medium.com
“You put this kid behind the wheel, there’s nothing he can’t do”.
I love this wonderful film to almost obsessive Magnolia/Paul Thomas Anderson type levels and it is a very high watermark in the burgeoning cinematic career of Nicolas Winding Refn. Why? Who can’t love a film that so dramatically and indeed so violently, change gears so unexpectedly? Who can’t fall in love with the film’s core, a beautiful and heart rending love story between a shy coffee shop waitress and a movie stuntman driver? Who can’t but admire the stellar cast of actors who play against their perceived character type? Who won’t fall in love with the 1980’s tinged synthesiser soundtrack complimenting the crystal clear visuals? And who amongst you aren’t heartbroken by the film’s denouement as justice may be done, though the heavens may still fall?
Based on the book by James Sallis with a screenplay from Hossein Amini, Drive is very much a Nicolas Winding Refn film containing many of his accomplished touchstones: jolting and unexpected graphic violence, brilliantly captured slow motion segments heightening the build up to significant scenes, thorough and nuanced characters that shine from the screen through to a sublime soundtrack that is a very distinctive character all of it’s own. Throw in beautiful wide city scape shots reminiscent of Michael Mann’s crystal clear visions in Heat, driving sequences that take your breath away and a beautiful love story at the film’s core and you have a truly outstanding and wonderful film.
The 1980’s tinged soundtrack from regular collaborator Cliff Martinez is a real joy and is supplemented superbly by individual songs such as “Tick of the Clock” by Chromatics and particularly “A Real Hero” by College (Feat Electric Youth). This track compliments a drive through a dry underpass perfectly, encapsulating the mood of the film and is one of the many stand out scenes. Director of Photography Newton Thomas Sigel deserves immense credit for bringing Refn’s vision for the film to life, from the wide city scape shots through to the simple use of mirrors and reflections, and the angles captured during the multiple car chase scenes.
Bryan Cranston is magnificent as “Shannon” the Driver’s Manager, Agent and would be buddy. Scatty, nervous and portraying an almost permanent state of being on edge and looking over his shoulder, he has a heart of gold and a loving affection for the Driver, whom he always calls “The Kid”. Shannon loves the kid, cars and the repair garage he owns but away from these familiar staples of his life he struggles with his back against the wall and in the debt of two local gangsters. Both of these gangsters play against their usual character type with Albert Brooks in particular, bringing “Bernie Rose” to life with all the charm of a venomous snake! Ron Perlman also excels as his more exuberant, but charmless partner “Nino”. Bernie and Nino are partners, nefarious and illegal partners full of their own self importance but also streetwise and utterly ruthless. Shannon and Nino clearly have a long “history” and it’s to Nino whom Shannon saves his ire for a whispered rebuke of “He wouldn’t be able to find pussy in a whorehouse”. All three performances, with Ron Perlman more in a cameo role, are truly stellar in every way and are ably supported by further cameo roles from a pre Coen Brothers influenced Oscar Isaac as “Standard” and Christina Hendricks as “Blanche”. There are further cameos from James Biberi as “Cook” and Russ Tamblyn as “Doc” but special recognition must be paid to Kaden Leos as “Benicio”, more of which later.
However, in a twisted movie love affair we must have a maiden to go with our male and Carey Mulligan provides a career defining portrayal of “Irene”. Before Drive, Carey Mulligan was a rising star in Public Enemies and Never Let Me Go and has since excelled in the brilliant Shame and Inside Llewyn Davis. But here she portrays unrequited love and desire brilliantly with every awkward gesture and the sweetest of sweet smiles. Mother to Benicio and wife of Standard, she is falling in love with someone else and her every look and every desire is yearning to be with him. Irene and the Driver share so many longing looks and half looks and it’s their non verbal language that shines as they share so little direct dialogue. This is purposely so as it breaks the heart still further and is brilliantly portrayed, and very subtly at times by a stunning Carey Mulligan, with her Irene just so desperately wanting to be with her “kid”.
“Driver” (Ryan Gosling). Also affectionately known as “The Kid” but this vagueness and lack of background is very deliberate throughout the film to maintain the mystique of the kid, this stoic, man about town, genteel young man. Star turns in the magnificent Blue Valentine, Ides of March and The Place Beyond the Pines sandwich Ryan Gosling’s career high watermark performance here as The Driver. From his first introduction whilst framed with his back to the camera but visible through the hotel room window and merged against the beautiful city scape vista as he calmly describes his methodical instructions to an unseen client, through to the heart and gut wrenching finale’, Ryan Gosling firmly establishes himself as one of Cinema’s bright new lights.
As the title suggests, he’s a Driver, both professionally and for added kicks but remains a loner of sorts, meticulous enough to destroy all traces of his past life and able to walk away, or indeed drive away from any situation at a moment’s notice. Strong willed and piercing eyes that draw you into the screen, his laconic style betrays his unseen inner belief of right and wrong, and social justice. Clad in his distinctive scorpion motif jacket, tooth pick forever dangling from his mouth, his life is dominated by driving and cars, whether as a movie stuntman or working at Shannon’s car repair garage. But meeting neighbours Irene and Benicio reaffirm his outlook on life forever but with the obstacles in their path, will it be too late?
As previously alluded to, The Driver and Irene share so many heart rending scenes of a love that cannot be theirs, but equally affecting are the scenes shared with Irene’s son Benicio. The two kids bring out the best in each other and as their friendship grows so does The Driver’s protection of Benicio, and their shared staring games are one of the film’s real highlights. Never rushed or flustered and with the deliberately minimal dialogue more than made up for with his every look and gesture, this is a stellar and career high performance from Ryan Gosling.
The film as a whole only garnered one Oscar Nomination (Sound Editing) but was fully deserving of so many more. This oft violent but heart breaking yet sweet tale of unrequited love is Nicolas Winding Refn at a career defining moment for me and Drive vies for position in my already overcrowded favourite films of all time. Stunningly beautiful and beautifully stunning, Drive never fails to resonate profoundly with me and is a true classic for the ages.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film articles are linked below or there’s well over 100 blog articles (with 300+ individual film reviews) within my archives from which to choose:
“Dogma” (1999)
“Good Lord. The little stoner has a point!”medium.com
“Beetlejuice” (1988)
The Best of Tim Burton — Vol 5.medium.com
“The Proposition” (2005)
“Australia — What fresh hell is this?”medium.com