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Posts Tagged ‘Nicolas Winding Refn’

The Driver (1978)

Thursday, September 22nd, 2011

Since everyone’s talking about Nicolas Winding Refn’s Drive (2011), I thought I’d weigh in with a few thoughts on Walter Hill’s The Driver (1978), a film that Drive doesn’t seem to acknowledge as a predecessor, but the similarities between the two films are obvious. Not that there’s anything wrong with that — as many observers have pointed out, The Driver owes a great deal to Jean-Pierre Melville’s film Le Samouraï (1967), so is there really anything new under the sun? But in this case, each film is an inspired riff on the other, and they all have distinct qualities that make them valuable in their own right.

Written and directed by Walter Hill near the start of his career, The Driver chronicles the life of its eponymous title character — none of the characters have names, just The Driver (Ryan O’Neal), The Cop (Bruce Dern), The Player (Isabelle Adjani), The Connection (Ronee Blakley), and so on — a wheelman for hire on his own terms, which are very strict indeed. O’Neal, then at the top of his game, brings a deadpan flair to the role, which adds immeasurably to the overall success of the film.

The Driver opens with a superbly executed chase sequence, made all the more remarkable by the fact that none of it is faked, and, of course, the whole film was made well before the era of CGI, so there’s no “computer enhancement” of the images, either. Because of this, The Driver has a gritty, stripped down realism, and almost no dialogue; O’Neal says practically nothing, and lets Bruce Dern’s cop do all the talking.

Set in the scummiest sections of Los Angeles, and shot for the most part at night in a wilderness of neon lights and rain soaked streets, The Driver has an intensity that Refn’s operatic, somewhat florid film can’t match; as heavily stylized and beautiful as sections of Drive are, the film doesn’t approach the authentically bleak nihilism of Hill’s earlier work — even if they aren’t officially related.

Here’s a clip of the opening chase scene; if you like this, you should buy the DVD.

Nicolas Winding Refn’s Drive (2011)

Thursday, September 15th, 2011

Ryan Gosling at the wheel in Nicolas Winding Refn’s Drive (2011)

Here’s a typically elegant and perceptive essay by J. Hoberman from The Village Voice on Drive (2011), the new action film by director Nicolas Winding Refn. As Hoberman usefully points out,

“As stripped-down and propulsive as its robotic title, Drive is the most “American” movie yet by Danish genre director Nicolas Winding Refn. The film, for which Refn was named best director last May in Cannes, is a sleek, tense piece of work that, as a vehicle for Ryan Gosling, has a kind of daredevil control [. . .] Refn is primarily a stylist, and this tale of a Hollywood stunt driver who moonlights as a hired wheelman (or is it vice versa?) and gets played for a patsy is a lovingly assembled, streamlined pastiche of ’80s movies and TV. The most obvious reference is Walter Hill’s schematic action flick The Driver: This 1978 paean to professional cool in the person of Ryan O’Neal more or less provides Drive’s title, premise, uninflected antihero, and minimalist existentialism, as well as its two-dimensional attitude.”

I’ve always thought that The Driver was one of Hill’s best films, and this is an inspired riff on the original, by a thoughtful and intelligent genre artist. Interestingly, the project was originally pitched to Gosling, and it was Gosling who chose Refn as the director for Drive; a first for Gosling’s career, and a very smart decision. Those who think that Cannes only honors more traditional “art” films should think again; this is a festival that continually surprises informed observers, in the most pleasingly possible fashion. Carey Mulligan, Ron Perlman, Bryan Cranston, Albert Brooks and Christina Hendricks are also in the film, so all in all, this is a very strong ensemble cast for any project. And you know what’s really refreshing? As Mike Fleming reports in Deadline Hollywood, the film was made for roughly $30 million, and in today’s economy, that’s bare bones filmmaking.

Read Hoberman’s entire essay here.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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