Drive is a love
letter to film noir and fast cars, at
once a blood-splattered exposé of a criminal underbelly and a nuanced romance. Winning
the best director award at the Cannes Film Festival, the Danish filmmaker Nicolas Winding Refn
(perhaps best known for his Pusher trilogy)
continues his fascination with morality in dark places. Set in a modern Los
Angeles punctuated by 1980s beats, the film follows the experiences of an unnamed Driver (Ryan Gosling). The Driver
lives a double life, working as a stunt driver for Hollywood films by day and
as a getaway driver by night.
The Driver’s world spirals out of control when he meets his
neighbour Irene (Carey Mulligan), who is raising her son while her husband,
Standard (Oscar Isaac) is in prison. The Driver’s attraction to Irene is
immediate, and their relationship is the focal point of the film. When Standard
is released from prison, he finds himself sucked back into the criminal
underworld he was hoping to elude. The Driver attempts to help him, with
While Drive moves
at a measured pace that may test the patience of some viewers, the film’s
aesthetics are extremely well done. Director Refn manages to transform the simple
act of driving along a busy street into something strangely beautiful. The
driving scenes are dreamlike and introspective. We are left wondering what is
really going on in the Driver’s head. Nonetheless, it is clear that for Gosling’s
character the driver’s seat represents a sanctuary from the outside world. Drive’s LA is a wasteland where only
The dialogue is sparse, but Refn captures the Driver’s
loneliness in measured close-ups: in a blink or a glance to the ground. Gosling’s
evocative portrayal of silence and stillness is completely shattered in a single
violent act. He is superb in this role, creating an antihero akin to the
outsiders of film noir. The Driver is a veritable Batman of the highway.
Ryan Gosling in Drive
The relationship between Irene and the Driver is also skillfully
portrayed. Again, there is little dialogue, and their attraction is rather
conveyed in shy glances and smiles. Like Gosling, Carey Mulligan proves herself
adept at playing an introverted
character and makes the most of the dialogue she is given. Recalling the Driver’s
aimless forays along urban streets, the romance goes nowhere. The couple share
only one kiss in the midst of Drive’s
most horrifying scene (only in Drive’s
LA can love and romance exist in the same moment). Indeed, the nostalgic 1980s
references serve to enhance the film’s reflection on what might have been.
Ambiguous, evocative and sometimes terrifyingly violent, Drive is worth the watch.
Drive can be seen here in Montreal.
© Helen Lyttelton 2011
Helen Lyttelton is a New Zealander who has been living in
Montreal since September, with plans to remain for a year under the Working
Holiday programme. She completed an MA in English at the University of Otago in
February. With a background in film, she works as a freelance film reviewer.