Drive

21 Oct

“Drive” made this list because it was on my mind at the time.  And because of something I read after.

In “Drive,” Ryan Gosling plays a nameless character who drives for films as a stuntman and drives getaway cars for hire on the side.  For whatever reason (his character is demure and unassuming), he is adept at killing people as necessary, as well.  In this gentle, easy way, he falls in love with his neighbor Irene (Carey Mulligan).  His involvement with Irene’s convicted criminal husband and these big time, hyperbolized mobsters is the beginning of the end for Gosling’s character and others.  Sort of.

The film is quiet and beautiful.  It is incredibly dark.  It is comic-book like in ways, too.  It feels like a real story, though nothing about it could be true.

What I read about the film after made me love it even more.  That the director, Nicolas Winding Refn, had a Grimm’s Fairy Tales vision for the film.  That the idea was to do the film in two parts: the love and the darkness.  He says, “[w]ith Drive, the structure I wanted to do was basically based on Grimm’s Fairy Tales. So the first half of the movie is about two people who meet and fall in love, but it’s spiritual, it’s never physical, it’s maybe not even, in a sense, real. It’s the idea of higher love. And in Grimm’s Fairy Tales, when the tables turn and it’s time for the villains to be punished it’s always very visceral, very extreme.”

He accomplishes both here.  And you can take them both with you.

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