A violent convulsions, creative and eccentric cast cars and fast-Drama, Drive up to a whole genre of scratching noble, semi-artistic action film almost existential, including Point Blank, Bullitt and the driver. Ryan Gosling skillfully embody a repressed man of few words, going to great lengths to do something positive in a rotten world, the Danish prodigy Nicolas Winding Refn has created an evocative and engaging Potboiler glorified, who nevertheless seems driven by a creative half empty tank. Not the kind of films are often seen in competition at Cannes, this dark and bloody entry table should be promo for good results at the box office demanding both public and popcorn come September.
Never seen unless absolutely necessary, drivers are working Gosling unnamed waterfalls films during the day and moonlight as a getaway driver flight. The opening sequence shows a strong run full control of the driver of Los Angeles streets, and grace under pressure as it weaves through a network of police cars and helicopters to fly a warehouse burglary during the night.
Lured by an attractive neighbor in his building near the city center, Irene (Carey Mulligan), the driver did not speak to the eyes of his mouth. The first change that summarizes the half-philosophical, in a sense the limit of hilarious dialogue, which often finds its place in this fee. Irene: "Whaddya 'do' the driver:" I drive. "
We never learn much more than that of a man, but immediately took a strong interest in the welfare of this young woman, whose son is cute (Kaden Leo), whose father is in prison. At the same time, it seems that the luck of professional driver may be improving, when his boss and longtime patron, gimpy-legged owner of the auto shop in Shannon (Bryan Cranston), make a deal with big-bucks investors Bernie Rose (Albert Brooks) and the controller as a standard racing game.
When Irene's husband, called standard (Oscar Isaac) is released, he regrets his past actions and sincere appreciation for his shot at a second chance. But an unpaid debt, links to unknown friend Bernie vulgar criminals Nino (Ron Perlman), a botched theft and deeply rooted to bribes on several fronts, pull the driver in a treacherous underground world, which ultimately requires much more him that his driving skills.
The lulls between set pieces tend to be quiet and Moody, who wins the car dramatically and effectively executed prosecution of murder, go up - and increasingly bloody - and bad actions are multiply. Downtime never threatens to become boring, not with the font or style living Refn and eclectic soundtrack, which is integrated into techno music, but goes much further.
Still, Hossein Amini's adaptation of the novel by James Sallis short "feels worn as bracingly short, it is clearly aspires to this kind of muscle replacement parts pioneer in crime writing in Hemingway's The Killers and the subsequently used by many others. Amini simply can not build enough innuendo and layers beneath the surface of the characters and dialogue, tough talk is simply not loaded that way, it is best to blacks, So the lack of resonance is obvious.
Probably for the same reason, something similar is done both visually. Refn, who built a substantial following on the basis of these works, the style of powerful Pusher trilogy, Valhalla Rising and Bronson, creates a strong impression with his vision of a dark and seedy LA (Newton Thomas Sigel was director of photography of ingenuity), and violence is increasing beyond what you expect. But there's no emotion here that the sequences or absolutely kick ass on the way in which gender-up (except for some creative killings are carried out). The good things here is pretty good, but does not reach the highest level.
So it is a pleasure, if not exciting ride, one led by a wonderful voice total. Gosling here attempted to enter the iconic series of hard, mastered American film actors - Steve McQueen, Clint Eastwood, Lee Marvin - who express themselves through actions rather than words. Sometimes (often around Irene), his driver smiled too, but Gosling is the correct position for the security effort in the driving scenes and unexpected reservations call when they are asked to stuff very rough later.
Mulligan, as the fare class so far is an excellent choice as sweet, but Irene, while Isaac spent his sentence with unexpected intelligence and sincerity. Christina Hendricks is here to stay, but made a great impression as an accomplice in a robbery unwise. Cranston steep applies color to your good man loser, while Perlman brings all the wrong way. Most surprising of all, however, is Brooks, who is wonderful as a rich, reasonable-sounding people who are better than others to conceal that he is a total sob
Location: Cannes competition
Sales: Sierra / Affinity
Release: September 16 (District Films)
Producers: Marc Platt Prods, OddLot entertainment FLMS Bold.
Cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman, Oscar Isaac, Albert Brooks, Kaden Leo
Director: Nicolas Winding Refn
Writer: Hossein Amini, based on a novel by James Sallis
Producers: Marc Platt, Adam Siegel, John Palermo, Michael Litvak, Gigi Pritzker
Executive Producers: William Lischak, Linda McDonough, David Lancaster, Gary Michael Walters, Jeffrey Stott
Director of Photography: Newton Thomas Sigel
Production designer: Beth Mickle
Costume Designer: Erin Benach
Publisher: Matthew Newman
Music: Cliff Martinez
100 minutes
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