In Drive, the superb new thriller, Ryan Gosling can do more with his eyes in a single scene than many A-list actors can achieve given the wittiest, busiest screenplay. Scene after scene here almost approachs silent movie turf. Gosling’s character achieves a stunning minimalism that is at once terrifically appealing, and, over the course of the film, increasingly frightening. He has no name (merely The Driver) and no backstory. He’s literally a walking teapot waiting to boil with all the rage and angst of the best screen action/noir/heist heroes. Gosling’s arch has risen so rapidly with each film role lately, he’s now approaching classic film star territory. The Steve McQueen and Clint Eastwood comparisons you may have heard about concerning his role in Drive are the real deal.
Gosling also sets the tone for what may be the most deliberate (OK, arty) film noir in recent memory. The contrast director Nicholas Winding Refn (Bronson) achieves with a tone of utter quietness setting up some of the most exaggerated violence is the key to this film’s uniqueness. Fairly ordinary genre elements are given a subversive heightening that’s almost surreal at times. Scenes of “empty” dialogue between Gosling and Irene (Carey Mulligan, An Education) have a realistic edge nonetheless. Mesmerizingly suspenseful waits as Hollywood stunt man Gosling moonlights as a getaway driver for hire with a ticking clock timing the crooks window for escape as his only prop thrill us before the inevitable chase. Gosling’s speechlessly and somberly reflects on the losers surrounding him. These are pertinent tonal set-ups for Gosling making a turn to set a few things straight in order to save Mulligan from victimization. His self sacrifice surprises his friend and boss Shannon (Bruce Cranston), who underestimates his humanity while glorifying his prowess as a driver.
His nemesis is none other than Bernie Rose (Albert Brooks). The comedian/film director and recent novelist, comes up with one of the year’s most surprising performances as a film producer/underworld investor who’s deceivingly normal. At first. His connection to Gosling is as co-backer (along with an annoying Ron Perlman as Nino) for Gosling’s Shannon-fueled entrance into the racing circuit world Brook’s transformation into a villain sneaks up on you, and by the time he’s in gear, Gosling’s drive to redemption is up against an equally eccentric and intense force that’s as nuts as he is.
I wouldn’t be surprised to find Gosling and Brooks both nominated for Oscars. They make what was already a tumultuous screenplay (Hossein Amini) and a hypnotic and atmospheric film (Refn won Best director at Cannes for this film) an experience teeming with action but presented as a collision of unsuspecting bedfellows: art and thriller meet. Europe comes to America to rewrite the film noir thriller as Scandinavian Refn makes his mark successfully merging the detached and the profane….Gosling, on the heels of Blue Valentine and Crazy, Stupid, Love; strikes again next month in George Clooney’s long-awaited Ides of March. Life is good: autumn movies season must be here.
8.5 silent wheels out of 10
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