The cinematic world has been craving a classy modern noir film for some time, one that can cross over into the mainstream, and show the casual cinema goer what they’ve been missing out on.
Drive, is that film.
Set in the dark underworld of Los Angeles, we meet ‘Driver’ (Ryan Gosling), who works nine to five in a garage, on the side as a stunt driver and just to keep him busy he is a driver for a gangsters. He is our anti-hero, a man trapped in this world he didn’t create, with seemingly no way out.
That is until he finds Irene, his neighbour, who brings out a human side of him, and a path towards salvation.
The way Director Nicholas Winding Refn captures ‘Driver’s’ loneliness, in particular shots is effortless brilliant.
Refn also pays great attention to the lighting of his scenes, a noir trait seldomly employed so well in recent times.
The jacket he wears (a white jacket with a scorpion on the reverse) is a candid metaphor for his descent further into the darkness, as he becomes consumed in this dark world, and thus his impeccable jacket becomes increasingly stained with other’s blood as he attempts to avenge Irene’s husband’s death.
The action scenes behind the wheel are truly breathtaking, as Bernie Rose (Albert Brooks) says early on in the film,
“Put this kid behind the wheel, and he can do anything.”
This is typified within the first 15 minutes, as he successfully outruns a police chase, and gets away scot free.
The score and songs chosen throughout ooze style, with thudding electro beats really capturing the noir mise-en-scene.
In a nutshell ‘Drive’ is a film that knows its cool, and after watching it you will surely agree.
Now where did I put my keys?