Review of Drive (2011) by Omar K — 17 Jul 2015

A Hollywood stunt driver and criminal getaway driver require similar skills but are on completely opposite ends of the laboral spectrum, nevertheless, trust Nicolas Winding Refn to mash both these totally different ideas together and â??wind-upâ?? with an accomplished flick. It is a plot that has a tinge of banality and commonness about it yet still has a sense of individuality. The film industry has not been parched of car and criminal films yet Driveâ??s intelligence is that it may be called Drive but it couldnâ??t be further away from that notion.

Drive has many stylistic influences working together including Noir through its desolation and mysteriousness, Hollywood car spectacles and the comic mix of style and violence. But most important is the influence of Chilean filmmaker Alejandro Jodorowskyâ??s existentialism as a binding factor of the film. The fact that existentialism emphasises the existence of the individual person as free and that they determine their own development through acts of the will lends the film more clarity and understanding. You may be thinking right now but what is this guy on about but listenâ?¦ If Drive is a study in liberation and will then it must mean that â??Driveâ?? as the title of the film holds multiple significance. Drive is not only about the act of driving but also the drive that makes people do the things they do; the inner will and determination that makes a person liberated. Each characterâ??s will reflects their actions therefore the lack of talking in the film represents the inner psychological battles each character experiences.

Although Drive has intriguing depth, the lack of dialogue and bleak atmosphere makes the film unidentifiable and confusing. Considering Winding Refnâ??s filmography, this could be symptomatic of the type of director he is as 2009â??s Valhalla Rising follows the same tone of minimal discourse and gloomy milieus. I have come to the conclusion that the gloom in Refnâ??s movies never recedes and we just have to deal with it.

Ryan Goslingâ??s protagonist has quite a complex lifestyle but does not seem to be fazed by any of it. His controlled, calculating exterior seemingly is hiding a more mysterious interior as he hardly says anything in the whole thing. Unlike other characters who are (almost) silent protagonists; for instance De Niro in Godfather Part II or Eastwood in The Good, The Bad and The Ugly, The Driver fails to interest you in the way he should. Considering his complexity he should be fascinating, but by the end of the film we are left feeling that we go on a journey watching the character and not experiencing it with him.

One person who was completely efficient is Cliff Martinez because if there is something perfect about this film then it is his soundtrack. The ethereal electronic pop is captivating and hallucinating, as every single song is bang on point for each moment; many of you will even be downloading itâ?¦. I already have.

The Verdict:

With all the promise to be an intriguing neo-classic, Driveâ??s monotone characters and drab environment amidst sudden gusts of high-octane car sequences does not enthral muchâ?¦ except when the music starts rolling.

â??â??â??â??â??â??â??â??â??â?? 4/10.