‘Drive’ is full of killingly well-executed action scenes, sharp acting, ironic dialogue and ultra-snazzy visuals

Drive/2011/100 min.

By Michael Wilmington

“Drive” is a gut-twisting LA action movie, stripped to the bone, but also drenched with visual style. It’s about a driver played by Ryan Gosling who falls in love with the woman down the hall in his building, nervous Irene (Carey Mulligan), whose husband Standard (Oscar Isaac) just got out of jail and is being forced into another heist by shady moneymen Nino (Ron Perlman) and Bernie (Albert Brooks).

Albert Brooks

The show is full of killingly well-executed action scenes, sharp acting, ironic dialogue and ultra-snazzy visuals – all of which won Nicolas Winding Refn the Best Director prize at the last Cannes Film Festival. Hossein Amini wrote the script based on James Sallis’ novel.

It’s a movie built largely out of our memories of other movies, but that’s not necessarily bad. We know where this movie is coming from as soon as we know Gosling’s character has no name but The Driver – just like Ryan O’Neal in Walter Hill’s 1978 “The Driver.”

Neo-noir is this picture’s middle name, and its forebears include “The Driver” (of course); John Boorman’s 1968 “Point Blank” with Lee Marvin; Peter Yates’ 1968 “Bullitt” with Steve McQueen; and Michael Mann’s outlaw movies “Thief” (1980) and “Heat” (1995). As you’d expect from a movie with that kind of lineage, “Drive” begins with a great chase and gives us a little dip under Gosling’s opaque exterior by letting us know that he’s a movie stunt driver by day and a getaway driver at night. (He allows his robber/clients only five minutes to get back to his car).

He’s also a prospective race car driver, for whom his auto shop owner/patron Shannon (Bryan Cranston) wants to get sponsorship. Shannon turns to the very same criminal financiers, Nino and Bernie, who want Standard to pull a job for them, for which Standard wants The Driver to drive. And The Driver does, mostly because he’s in love with Standard’s wife, Irene, and his little son Benicio (Kaden Leos).

The movie alternates its always-thrilling action scenes with more emotional character stuff – including a brilliant turn, Oscar-worthy really, by Brooks as the falsely good-natured gangster and ex-movie producer Bernie. (In the ’80s, says Bernie, he did action stuff that some critic called “European.”) The classy cast sometimes seems to be getting paid for holding it all back, especially Gosling, whose minimalism here makes vintage Eastwood or McQueen look like John Barrymore.

As the film goes on, it gets more violent. The violent scenes are short but extremely bloody. Since the movie plays some of its carnage with razor-sharp comic timing (especially Brooks’ scenes), it becomes more and more disturbing as well. There’s something sinister and icily detached about that comic violence. “Drive” suggests a world where brutality is rampant, where greed rules, where immorality thrives.

Though Refn may not have really made a classic neo-noir, it’s a very good effort. A little more Albert Brooks maybe. Not too much. Five minutes or less.

Albert Brooks photo by Jim Spellman/WireImage/The New York Times

‘Taxi Driver,’ the ultimate big-city bad dream, screens Sunday at TCM Classic Film Festival

Taxi Driver/1976/Columbia Pictures/113 min.

One of the many highlights of the TCM Classic Film Festival is Sunday’s showing of “Taxi Driver” by Martin Scorsese, which this year turns 35. One of the most sordid urban nightmares ever, “Taxi Driver” stands as the ultimate big-city bad dream.

And where else could it be set but New York City? In the mid-1970s, the mighty metropolis seemed to be falling apart: the economy had stalled, people were deserting the troubled island in droves, and crime was rampant. (Other cinematic portraits of the dismal period are “The French Connection” 1971 by William Friedkin and John Schlesinger’s “Midnight Cowboy” 1969.)

Jodie Foster in "Taxi Driver"

In the middle of this urban mess is anti-hero Travis Bickle (Robert DeNiro) – a Vietnam vet and taxi driver, whose desperate loneliness and disgust with NYC’s squalor and decay slowly pushes him over the edge of sanity. Long hours of driving jerks and freaks around isn’t good for anyone’s mental health, let alone an introverted downer like Travis.

Early on, there seems to be a shimmer of hope when Travis encounters a woman named Betsy (Cybill Shepherd), lovely and stylish, ambitious and free-spirited (kudos to costume designer Ruth Morley). Betsy is a campaign worker for Senator Charles Palantine (Leonard Harris), who is making a bid for the presidential nomination. Rather surprisingly, Betsy agrees to meet Travis for coffee. Rather astonishingly, Betsy agrees to go on a date with him, which thoroughly annoys her co-worker Tom (Albert Brooks).

Instead of candlelight and roses, or even strip lighting and sandwiches, Travis takes Betsy to a porn movie. She storms out, quashing any hope of romance, though Travis keeps angling for another chance by sending her flowers and showing up at Palantine’s campaign HQ.

After that, Travis tries to keep busy – you know, the usual breakup stuff – writing in his journal, shaving his head, talking to himself in the mirror, buying guns and pointing them at Palatine. When Travis spies a child prostitute as she walks the streets (Jodie Foster), he makes it his mission to rescue her from the degradation of working for sicko pimp ‘Sport’ Harvey Keitel. His quest, fueled by his worsening mental illness, culminates in out-of-control violence.

Once you see “Taxi Driver,” you’ll never forget it. Coming on the heels of Vietnam and Watergate, the film tapped the overall dark mood of the nation and did well at the box-office. Additionally, it catapulted Scorsese and writer Paul Schrader into the big league, making its mark with the Hollywood tastemakers and earning four Oscar noms: best picture (it lost to “Rocky”); best actor (De Niro); best supporting actress (Foster); best original score (Herrmann). It also won the Palme d’Or at Cannes.

Though he didn’t win the Oscar, DeNiro turned in one of the best and most iconic performances of his career, spanning the emotional gamut from hardened cynicism to earnest and utter sadness. The most moving scene for me is when he sends a corny anniversary card to his parents and jots down some details of a life he pretends to live. Foster’s performance is raw and gutsy. Keitel’s brief but searing scenes are repulsive, disturbing, stomach churning; even for crime-movie aficionados, they are hard to watch.

Scorsese’s virtuoso filmmaking taps the sensibilities of the finest American and European filmmakers. He draws thematic inspiration from classic Western director John Ford (specifically 1956’s “The Searchers”) and from his beloved ’30s and ’40s crime movies as well as the visual aesthetic of French New Wave auteurs. [Read more…]

Quick hit: ‘Taxi Driver’

Taxi Driver/1976/Columbia Pictures/ 113 min.

In this Martin Scorsese neo-noir, Robert DeNiro won an Oscar nomination for his portrayal of angry loner Travis Bickle, who’s on the brink of insanity in sad and seedy ’70s New York. Says Travis: “Someday a real rain will come and wash this scum off the streets.” While waiting for the rain, he makes it his mission to save a child prostitute. Co-star Jodie Foster, then 12, earned an Oscar nom of her own. Harvey Keitel, Cybill Shepherd and Albert Brooks round out the cast.