Kristin Reviews Drive

The thing I like best about Drive is the way it holds its breath. From the intense, edge-of-your-seat opening sequence until the moment the end credits begin, the film is controlled and deliberate. Some critics argue that it moves slowly – in fact, it moves with exactly the same steady, measured pace as the main character, the Driver. It is as if the consistent restraint exhibited by the Driver controls the pace of movie itself.

Drive’s story and structure are extremely simple, but it is always clear that the Driver, who seems to personify self-discipline, is not as simple as he appears. Because of that, a subtle suspense is maintained, and this, rather than complex story-lines or fancy effects, keeps the audience engaged.

This seems to be the year of the Gosling, and I hate to participate too enthusiastically in any sort of star-fawning, so I shall do my best to explain my reasons for praising his performance in Drive. Last year, I strongly felt that Gosling was overlooked in the nominations for Blue Valentine, and his turn in Lars and the Real Girl was equally impressive. This year, he turned in three highly acclaimed performances (including one in the generally ignored romantic comedy genre); his performance in Drive was my favorite.

I’ve heard others grumble that Gosling doesn’t do anything in Drive. I would argue that such a perception is exactly why his performance is worthy of praise. Gosling creates a character who seems mild-mannered and meticulous but, at the same time, resonates an undercurrent of something else. He does nothing so well that his performance almost screams that something ugly is under the surface. It’s in his body language and the almost imperceptible changes in his facial expressions. The Driver is a guy who is so controlled that a single, brief, shy smile in one scene stands out as if lit by flashing neon.

Drive isn’t just impressive because of Gosling’s performance, though. There were moments in which the lighting and camera work took my breath away, some due to their beauty and some because they arrived as sudden, shocking, image-collisions. Also praise-worthy is the use of sound. Heavy electronic dance beats and the more subtle score by Cliff Martinez are skillfully knitted into a soundtrack that relies more of ambiant sounds and silence than dialogue to carry the story forward. Ordinarily, I find it annoying if the mechanics of a movie interfere with my focus on the story – this generally means the story has lost me (or the mechanics are glaringly poor). In this case, however, the craft sets the tone for the picture, and the tone is simultaneously lovely and horrifying.

Drive stuck with me for days after I watched it. The entire movie – the script, the music, the direction and cinematography, the performances – is so carefully crafted, it’s like gazing at a fine, intricate piece of blown glass. I think the film’s pace hindered it when ballot time arrived; I know I am not alone in my disappointment that it is not better represented in the Oscar race.

-Kristin
9.27.2011