Drive

‘Drive’ is the story of a ‘driver’ (Ryan Gosling), a man who is never named. He works in a garage but moonlights as a stunt driver, a budding racing driver and as a getaway driver for the local criminals. That’s a lot of driving.

He’s a bit of a loner, who doesn’t go much for words or even facial expressions. Although he does break in to a smirk of sorts when he finds out he’s got Carey Mulligan (who plays Irene) living next door.

Then Mulligan is at it too, throwing in big deafening silences and long evocative looks, in her case trembly, dewy-eyed and innocent ones. The two of them say so much by not saying anything but it works. In this way she sort of hits on him and he gets involved in her life, befriending her young son Benicio along the way.

You can only assume she’s fallen for Gosling's tough but caring persona and his silent charm, it certainly wasn’t his chat up lines, the few words he does utter are around the toothpick that hangs permanently from his lips. I’m not sure where he put that when he snogged her in the lift, which was the films only departure into passion and that was only as a diversion so that he could kill someone. This is a romance that never goes anywhere but then Mulligan does still only look about fourteen, despite having a son.

Now I’ve gone and mentioned the killing. Gosling's character bursts into violent life mid-film, embracing violence on a sort of ‘Eastern Promises’ level. It kicks off when Irene’s husband Standard (Oscar Isaac), who was in jail, is released on parole and people are keen to settle scores with him. Standard thanks our driver for looking after his wife while he was inside, seemingly oblivious to the chemistry sizzling off the pair of them, even in his presence. The two of them get on and our man offers to do a driving job for Standard to pay off his pursuers but it all goes horribly wrong.

The violence then gets ratcheted up with the driver doing a hatchet job on all the mobsters who come to get him until it’s a case of last man standing. Some of the scenes are accompanied by the sort of gallows humour that is right out of the Tarantino scrapbook.

Overall it’s an absorbing piece of cinema. Some would call it slow but I’d call it tense and involving. The soundtrack is pulsating, the cinematography great and the dialogue lean, obviously. Even the car chases, of which there are plenty, don’t irritate like they normally would.

Acting wise, Gosling is great, the man gets more impressive with each film he does. Mulligan is good too and backed by a strong supporting cast of mobsters. One of the best films of 2011 or 2012 depending on when you see it.

Eastern Promises

Tonight we see David Cronenberg's Eastern Promises which was shot exclusively in London. A pregnant 14-year old Russian girl arrives in A&E, haemorrhaging badly and with needle marks on her arms. The girl dies but the baby survives, Nurse Anna (Naomi Watts) is left holding the baby along with the girl's diary, which contains some very sensitive information, and a business card for a Russian restaurant. Anna attempts to have the diary translated in order to identify the girl's family. Watts, my second babe on a motorcycle in the space of just a few hours, and in a nice pair of boots, also goes to the restaurant but in doing so, she becomes embroiled in the dark world of the Russian Mafia, who want the diary back.



Viggo Mortensen, who plays Nikolai, the 'driver' to the mob, is outstanding. Nikolai is seemingly the cool, calculating part of the 'family' compared with the blundering son Kirill.


Cronenberg's mixes in his usual dollop of violence and treats us to two cut throats and an eye gouging, that oddly left most of the cinema in raptures of laughter. Mortensen performs the fight screen that leads to the eye gouging in a steam bath completely nude.

An excellent film with a good twist at the end.