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Starmaking roles are as rare as actual stars these days, but this just might be one.
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Carey Mulligan might not have a lot to do, but she looks believably vulnerable Albert Brooks proves that actors more familiar with comedy can often turn on their menacing side to great effect (it’s he who gets to stick a fork in a guy’s face), while Ron Perlman, well, as usual Ron Perlman just has to turn up, really.Īnd then there’s Ryan Gosling.
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The cumulative and exhilarating sensation is that Walter Hill or William Friedkin made an urban noir sometime back in 1986 and somehow you missed it (and it’s easily as good as The Driver or To Live And Die In LA).Īnd Refn’s good taste extends to the casting. Meanwhile Newton Thomas Sigel’s sheeny cinematography delivers gorgeous chopper shots of the neon-flecked night-time streets of LA and moody renderings of asphalt car parks, race-tracks and diners. Refn’s skills are not limited to artfully conceived bloodletting: an opening sequence in which our hero practises his trade, transporting a pair of thieves from their place of business to safety, dodging, parking and reversing, is a masterclass of cutting in which the precision of the editing matches that of the driving (and actually it’s far more exciting than the more conventional car chase later in the movie). Here Refn delivers a gripping, gritty neo-noir drenched in so much mid-’80s styling that the only thing that seems to be missing is Simon Bates thanking us for listening and exhorting us to enjoy the film. Think of Paul Verhoeven’s mischievous satires RoboCop and Starship Troopers. Nicolas Winding Refn, a Danish director best known for the Pusher trilogy and 2008’s thug-opic Bronson, is proof of the fact that American pulp is sometimes much better done by Europeans.
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But it also has a sequence of a man having his cranium reduced to a bloody pulp by an enthusiastically deployed boot à la Gaspar Noé’s Irreversible, someone gets a fork shoved in their face, and a good portion of it is shot in slow motion. Drive is very much like Shane, in that it has a strong, silent hero, determined to do right by the innocent while struggling against his character which, as Heraclitus so pithily put it, is also his fate. Alan Ladd's 1953 classic Western Shane is a tale of a man who, trying to escape his past, turns up at a homestead and, in trying to save a woman and her child from black-hats, finds himself drawn inexorably back into the violence he has tried to escape.