Carey Mulligan is radiant as the girl that would be a thankless role in a less carefully conceived movie. He’s perfect in the role, which should only increase his ever-growing star power. Ryan Gosling plays the Man With No Name-styled lead, striking a balance somewhere between a detached Clint Eastwood cool and the almost hidden psychosis of a Charles Bronson. No discussion of Drive would be complete without acknowledging the amazing cast Refn assembled.
I’m not sure it will translate into an arty crossover hit like Pulp Fiction or merely turn into a fetishized cult classic for genre geeks, but either way the movie will be remembered long after more immediately successful movies from 2011 vanish into obscurity. He’ll play simple dialogue scenes with an almost eerie sense of urgency and then showcase extreme violence as if it were mundane, keeping the audience off-balance and prompting them to find surprises in even the most over-explored plot devices. Nicolas crafts artful car chases, but doesn’t attempt to outdo the vehicular mayhem of something like The Fast And The Furious. His film looks exquisite and the suspense he creates for the audience is palpable, but never in an obvious or expected way. This is no harsh reality here, just tense genre material elevated through a arty style. Though still clearly the work of Refn, the dark edges have been curved off a bit. Drive should hopefully help him find a wider audience in North America. His work has its fans, but never really traveled far overseas due to subtitles that put off the bloodthirsty genre crowd and a taste for ultra-violence too intense for the art house folks. For years he’s been a master of gritty crime films, wallowing in the deepest recesses of disturbed human behavior like Bronson and The Pusher Trilogy. The movie comes from cult Danish director Nicolas Winding Refn, working in North America for the first time. It’s a story of guns, cars, killers, and a girl, elevated through a detached European art film style that makes it feel like more than just simpleminded entertainment. Instead the story is streamlined to only the most basic elements. It’s all classic crime movie stuff, but not in a clichéd way.
The Driver agrees to help and ends up double crossed and left with a bag of mob money and a big price on his head. That kid is fathered by an ex-con, and when he returns home from prison, former “business” associates quickly start threatening the con’s life and family to get him to participate in one last job. The Driver is also being primed for a racing career by his mechanic employer and only friend, while at the same time develops a sweet relationship with the pretty woman who lives down the hall with her son. An unnamed silent hero (credited only as Driver) spends his days pulling off elaborate car stunts for movies and then uses those driving skills at night as a wheelman for hire, pulling off a variety of illegal activities under the cover of nightfall. EZTV.The film has a plot that couldn’t be more simple.
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