‘I drive? for the movies?’ ‘Can you dance?’ It’s like Drive‘s star Ryan Gosling has a bit of an upward inflection like a New Yorker who moved to LA, the latter being the film’s setting. I didn’t buy him as a ex-Floridian in Blue Valentine and even if he doesn’t sound like he’s from ‘here,’ the accent isn’t a flaw and it’s actually cute.
This is a call to suggest music for me, trying to reinvent myself and my iPod because of the Drive soundtrack, especially this song because it’s ridiculous, especially in a part the begins in the minute and a half mark that they skip in the movie.
This song was playing during Standard’s (Oscar Isaac) ‘homecoming from prison’ scene. Standard is the Driver’s (Gosling) platonic-y love interest Irene’s (Carey Mulligan) husband, the two men reluctantly joining a heist that goes awry. Despite of myself and my knowledge of stereotypes that I shouldn’t write, I find it incredulous that a former jail-bird listens to electronic synth-pop. Maybe in other ‘New LA’ films but not these characters. Or maybe it’s director Nicolas Winding Refn re-imagining the scene with his own soundtrack à la Sofia Coppola’s Marie Antoinette or oh who cares.
[ETA: Sasha James doesn’t talk about this scene nor the music. Her post is kinder to the film, but I’m still not sure which one of us hates the movie more.]
Imagine Neil Marshall as the director (maybe), Hugh Jackman as the Driver (no), Jacinda Barrett as Blanche (maybe) and a Hispanic actress, say, Rosario Dawson as Irene (maybe). I write this because Mulligan’s chemistry with Gosling and Isaac was absent. We’ve seen Gosling fall magically in love with his co-stars and it’s strangely sad not to see it happen here.
Looking up selected songs from the soundtrack as well as its iMDb page, where I got the cast and crew turnover from, made me feel like I was subconsciously destroying or deconstructing the movie before I even watched it. But I also get the feeling that Refn was doing the same while making it.
Maybe I should embrace the artificiality or seen the characters as anomic and dislocated, their bodies and voices clashing against the sounds of a desolate environment like characters in a Western. But it’s easier to rely on my reaction while experience the movie. Refn miscalculates the film’s mood and doesn’t let the characters on Hossein Amini‘s script grow. 2.5/5.
- Drive ~ (USA, 2011) ~ In Theaters (chazzw.wordpress.com)
Kazuo Ishiguro‘s novel Never Let Me Go, about young adult clones slightly obsessed about their Cytherean childhoods, is now a feature film. Director Mark Romanek uses a linear approach to the story instead of the impressionistic one in the novel, and like any adaptation, it could go either way.
And sure Romanek mixes up a few things from the source material, a small grievance. And there’s many holes in the script that makes all interactions feel set-up and less organic, a bigger grievance. There’s also a lot of details, beautifully shot, that enhances the object-obsessed part of the story Romanek wants to tell.
But who can resist watching Keira Knightley as Ruth transforming from a histrionic, control freak of a girl into a worn down defeatist, needing a walker, giving a performance that’s the best in her career so far? Or Andrew Garfield as Tommy D., the awkward, gentle, brave boy we can’t help but reach out to?
Charlotte Rampling plays an icy Miss Emily. The script could have also given better justice to Miss Lucy (Sally Hawkins) and to Kathy (Carey Mulligan). The film unfortunately turns Kathy from the sane one into the less than pretty virgin. Though Mulligan could have been better, I like her better here than in An Education. I also like the girl who plays the younger Ruth, being able to change emotions so subtly. Despite of its flaws, the film does pull on your heartstrings, and in Cythera, that should suffice. My rating – 3/5.