“Drive”: A very 1980’s feel


Everyone told me I had to watch this movie. That might have had to do with “everyone” being women who were in love with Ryan Gosling. However, I’m sure car fanatics would say the same thing.

Gosling played the main lead in “Drive”. The character has no name, he’s just the “The Driver” and that’s pretty much all he does, he drives.  He’s a stunt driver part time, works as a mechanic with Shannon played by the very talented Bryan Cranston. He is also a getaway driver for thieves. It’s a good thing that “the Driver” works on or drives beautiful classic cars and the chases scenes are crafted old-fashioned with a confident driver.  He’s “the Driver” and he should know his material best.

The movie becomes complicated with the generic plot of mob bosses from different sides. Gosling is concerned with helping his next door neighbor Irene played by Carey Mulligan and her son to remain safe. Her husband owes money.

Critics loved “Drive” because it reminded them of the gritty 80’s L.A. movies and that’s what it was. This film had a predominant 80’s soundtrack and gave it’s location gave off this 1980’s vibe. I’ve not seen many 80’s heist movies, but I would have to agree that it must seem like “Drive”.

The beginning sequence of the film sets up the type of character that Gosling is: quiet, cunning, agile like a fox. I wish the rest of the film carried this vibe throughout. His character however changed slightly when Gosling got involved with Irene. He got too attached, but maybe that was the point. He actually cared about someone. He would put up a fight. I guess I have to look no farther than the elevator scene that switches from romance and than abruptly violence to protect her.

One surprising thing about this movie was the reappearance of Tren Reznor’s “Hand Covers Bruise” from the “Social Network”, such a defining piece. I’m surprised he let “Drive” use it.

This film is nominated for best sound editing. Lon Bender and Victor Ray Ennis, the two sound editors definitely did an excellent job of being able to weave great moments of sound.  I especially loved the combination that came from the radio, the police radio, car tires and dialogue in the opening sequence.

Oscar Nominations:

  1. Best Sound Editing

 

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