Film analysis drive

With no fear, he can drive at terrifying speeds with extraordinary manoeuvrability; he has a sixth sense for cop cars and police helicopters. However, he has one super-special rule that the robbers must agree to, but which makes zero narrative sense. More of that in a moment. Drive is a good film with great visual flair, in the style of Elmore Leonard or Quentin Tarantino, and with a little of their natural gruesome gaiety and gallows humour.

Film analysis drive

By Cindy Davis Lists February 6, With ultra cool sound and style and some beautiful performances, Nicolas Winding Refn's Drive flashed us back to the eighties in a good way.

Ryan Gosling's deathly silent superhero reminded us with how little the best actors really need to speak; his quiet intelligence and unflinching power came through almost entirely by expression and deed.

A while back I wondered who could possibly fill Clint Eastwood's shoes --Gosling never even occurred to me. But after seeing his Driver, I only want to see more. After winning Refn the Best Director award at its Cannes premiere and Golden Globe nomination for Best Supporting Actor Albert Brooks, the film was largely deserted by the major award circuits, and perhaps for the best.

Drive seems destined for cult status; I want to hide it away like a secret lover, kept to myself. Though the DVD doesn't have a proper commentary, there are several short featurette-type sections in the extras--along with those, this information was cobbled together with interview tidbits and news articles.

The director has said he does plan on putting out a deluxe edition the "Queen" version within a year, including more in-depth analysis and interviews, so if you plan on buying the DVD you may want to wait.

Drive is based on the "neo-noir" novel of the same name by James Sallis. Saying it was rare to be sent a book from a studio, Amini read the novel for the first time and found it " There was a subplot of Driver and the mob coming after him, but that was a small part of the whole thing.

Producer Marc Platt Scott Pilgrim vs.

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He meets a girl, breaks his code and everything goes to shit. Of Driver, Siegel said, "He's a man with a code--the book focused on the code right and wrong and the difference between legal and illegal. This character is only concerned with right and wrong.

They both felt the idea of this masculine code was something that hadn't been explored in a long time--not since some of the cinema classics like The Good, the Bad and the Ugly and Bullitt. Gosling described watching Refn's films as " Gosling drove Refn home after their meeting and because it was so quiet, Gosling turned on the radio.

REO Speedwagon's I Can't Fight This Feeling Anymore came on, Refn got tears in his eyes and started singing along, exclaiming "I know what this movie is, it's a movie about a guy who drives around listening to pop music because it's the only way he can feel.

Marc Platt calls it "cosmic irony" that neither Refn nor scriptwriter Hossein Amini drive. Refn's process included days of character discussion with each actor; prior to rehearsal they spent time with the director at his home.

Carey Mulligan, who had just broken up with her boyfriend, stayed with Refn--as did Hossein Amini. Bryan Cranston said he felt like on paper the character of Shannon was a lot like Burgess Merideth in Rocky, with an element of mentor and protege.

Refn "insisted" on collaboration and Cranston had ideas and pitches of his own that were incorporated--he felt that Shannon talked too much and it was a nice contrast to Driver's silence.

Adam Siegel said he never imagined Cary Mulligan as Irene. She was a big fan of Refn's and called saying she wanted to talk to the director about why she should be in the film. The character was originally supposed to be a Latina woman, but she was changed and a whole backstory for her was rewritten.

Oscar Isaac Standard said for him, the film was a completely unique experience. If the night before, he would say that he was unsure how to play a particular scene, Refn would tell him to figure it out and come up with suggestions. Isaac would come in the next day with ideas, they'd shoot it and if it didn't come out just right, Refn would tell the crew to take five.

The actor and director would sit and discuss the scene, "literally for an hour or two," while the crew was taking a break. Of Standard, Carey Mulligan said, "On the page the character didn't have much to him--you didn't care about him much--but Oscar came in and changed everything, really made you have sympathy for the character.

Albert Brooks Bernie Rose also saw his character not as a villain, but rather a guy who has dealt with a lot of illegal events and was pushed into a corner. Brooks said it gave him something he'd never played before--he hadn't ever killed anyone in a film.

Film analysis drive

When Ron Perlman first saw the script, no one knew where Nino came from or who he was. He and Refn "put flesh on the bones" and it became easier to play the character as time went on.David Lynch's Mulholland Drive may be a brilliant movie - but do even its biggest fans know what it's about?

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Drive is a good film with great visual flair, in the style of Elmore Leonard or Quentin Tarantino, and with a little of their natural gruesome gaiety and gallows humour.

interpretation of the movie based on the opening sequence of “Mulholland Drive”. The second part of the analysis explores the cinematic devices such as the cinematography (the use of camera work to present the visuals in the movie), the. Drive was the first film Carey Mulligan signed on to do after being nominated for an Academy Award for her role in An Education (), which was directed by another Danish filmmaker, Lone Scherfig.

(Scherfig is a good friend of Refn and used to babysit him when he was a child). Refn says that the song that describes the film is A Real Hero by College.

"To me it was the story about a character, the protagonist, who lived in two worlds. By .

Drive – Movie Analysis | Chris Stuckmann Movie Reviews