Drive Review

Ryan Gosling is arguably the best actor working today. His performances in the last year in a diverse slate from the romantic comedy “Crazy, Stupid, Love” to the thriller “All Good Things” to the romantic tragedy “Blue Valentine,” have demonstrated Gosling’s chameleon-like ability to melt into any role and give life to a variety of fascinating characters.
Gosling’s latest performance is arguably his best. “Drive” Stars Ryan Gosling as The Driver. We never learn his name, nor do his unique clients. The Driver spends his days as a Hollywood stunt driver and his nights as a wheelman for high paying criminals. The Driver gives the criminals a five minute window to commit their crime. Within that window he will drive them anywhere and keep them from the cops.
The Driver lives a quiet and very private life making certain not to form relationships or attachments that could imperil his objectivity. Naturally, we know that will change, he doesn’t until he meets Irene (Carey Mulligan). Irene is his neighbor and has a small child that The Driver strikes an immediate friendship with.
The budding romance is cut short with the revelation that Irene’s husband/baby daddy Standard (Oscar Isaac) is getting out of prison and coming home. Here, director Nicholas Winding Refn twists our expectations by playing the predictable showdown between The Driver and Standard quietly and thoughtfully.
Gosling betrays The Driver’s true feelings for Irene with his eyes but his actions are a different matter. In a departure from his code of non-involvement, The Driver comes to Standard’s aid and attempts to get him out from under a debt to criminals who had protected him in prison.
This departure by The Driver will prove costly and the rest of plot unfolds from there with an unexpectedly violent flourish. Drive is stunning in its violence, evoking the calculating yet gory viscera of David Cronenberg’s “A History of Violence” and “Eastern Promises.”
The influences exhibited in “Drive” don’t end with Cronenberg. The look and sound of “Drive” evokes the work of writer-director Paul Schrader on “American Gigolo.” The neon font of the film titles, the synth soundtrack and the over the shoulder camera position in the driving scenes all evoke Gigolo. Why “American Gigolo?” You’d have to ask director Refn about that; on the surface the two films share little more than the Refn’s choice of homage.
Though the influences are obvious “Drive” is far from derivative. The ideas in the film are its own and they are executed with gripping efficiency. Ryan Gosling’s acting choices carry weight and intrigue and you can’t help but be fascinated by what he will do next. Gosling holds you in thrall as The Driver drifts into further and further into danger.
Gosling is equaled in very different ways by the work of Albert Brooks and Carey Mulligan. You’ve never thought of Albert Brooks as menacing but you will believe him menacing wielding a knife with fierce efficiency. Carey Mulligan meanwhile, matches the intensity and dangerous charisma of Gosling and Brooks with fragility, beauty and empathy.
“Drive” is a remarkable film, artful, intelligent and gripping. The cast is extraordinary and the direction by Nicholas Winding Refn is superb.