Drive (2011) is directed by Nicolas Winding Refn, and follows the journey of Driver, a skilled Hollywood stuntman who doubles as a getaway driver for criminals. He then starts to form a relationship with his neighbour and her son, and he begins to do anything if it means they are kept safe. Director, Nicolas Refn, quotes himself that “this is not a car movie, it is called drive but it is more about a man (Ryan Gosling) who realises he was made for something else, like a superhero.”(September 20th, 2011) Drive (2011) Featurette: Nicolas Winding Refn. Retrieved from https://www.youtube.com/watch?v=0BgJ1zJ6Qmg . The impression that “drive” is only associated with cars or transport, is completely disregarded in this movie, and the word means so much more. Monsters can sometimes be the real heroes, is the major sub-text hidden behind the aggressive tones in the film. The cinematography, editing, mis-en-scene and the use of sound in this film further influence and display the concerns Refn has. The first half of the film starts off as a fairy-tale love story, but that all changes when the audience see’s Goslings character turn, quite literally, into a violent gangster.
A scene which is primal to the sub-text is a scene in which Driver goes to visit one of the members of the mob to find out who’s money he has. It then becomes very violent when Driver smashes the other characters fingers with a hammer, then pushes him onto the ground and demands him to call Nino, or he will continue to hurt him. This is not the first time the audience has seen Driver act so brutally towards an individual, but it is still confronting as the violence, use of camera angles and sounds further imply the sub-text. Some of these sounds being as subtle as the calmness in Goslings voice, to the violent yelling of his victim with the tense techno music in the background. This creates tension and fear in the audience as we are only just now starting to see what Driver really is capable of. This scene is also being shot in a stripper club, so the thudding of the music not only adds to the atmosphere but also symbolises the thudding of the audience’s heart. There is another shot of Driver carrying a hammer, but it is angled up. Driver really is the one in power and in control of the situation. The audience is peering up at him, showing his dominance of the scene, as an entirety. Red is a re-occurring colour in this scene, and it is most significant when Driver walks into the dressing room, the walls are covered in brick but the doorway is covered in a red sheer curtain, which is symbolic due to the scenes savage tones. Red symbolises love, anger and violence. Driver is quite literally walking into his violent self, further relating back to the sub-text, in which Driver is turning into a monster, in order to be the good guy in the situation unfolding.
Irene and Driver’s relationship is established early on in the movie. The very first elevator scene where they are slightly smiling at each other, then when Irene’s car breaks down and Driver drives them home. Their secret love and bond progresses very fast, and this is due to Driver’s loneliness and isolation from the world. At the very start of the film a shot of Driver looking out at the world from a window, and then this exact shot happens again later on. Exhibiting that Driver is always looking out at world, he never really is a part of the world, or anything else. When he finally gets the opportunity to be a part of Irene’s small family, he leaps at it and becomes attached. It is this family bond which turns him into the beast that has always been hiding deep inside of him, because he wants the best outcome for them. “The uneasy combination has made Driver one of the most compelling, original and utterly hypnotic movie characters in recent times,” quotes Erin Free in (May 24th, 2016) Character Piece: Driver. Retrieved from https://www.filmink.com.au/character-piece-driver-ryan-gosling-in-drive-2011/ . Irene is also a very quiet character and there are rare accounts of dialogued passed between the two. A scene that displays this is when Driver is fixing a car piece in his small, empty apartment, the music booming from Irene’s apartment, full of people and colour. A song singing “you keep me under your spell,” plays as they both stare off into space. It cuts back and forth to the two characters and there is no dialogue needed, and instead of words being spoken, there is symbolism and music instead. Refn made Driver’s apartment dark, with barely any props inside of it as to represent how empty Driver’s life is. When in comparison to Irene’s apartment, with warm vibrant colours and many props that personalise the environment, like family pictures and toys. Now that Driver has found such a warm environment, he is willing to do anything to make sure it stays in his isolated life, but it is this notion that turns him into the beast he was bound to come.
The last elevator scene of the film strongly suggests the sub-text. As the audience is shown that the other gangster in the elevator has a gun it then turns into slow-motion, and through this editing style every little aspect of every shot is heightened. In this particular scene, it assists with the building of tension, as well as showing the passion behind Irene and Driver’s only kiss shared together. “The scene switches from utter beauty to disgusting violence in a fraction of second” states Wael Khairy in (April 17, 2012) Film Analysis, Film Review. Retrieved from https://cinephilefix.com/2012/04/17/987/ . Driver knows that this is his only opportunity to kiss Irene, because after she sees the true monster inside of him, he will never appear as the good guy in her eyes. All he will be is a violent beast to her. The use of lighting also contributes to this idea, in one shot when all the characters are in frame, shadows cross over the gangster and Driver’s face, the light remaining on Irene’s face. She is the only light, the only innocent one, and Driver and the gangster are always a part of the dark criminal world. Gosling’s broken and sweat-dripping face when he turns around after the violent incident, purely shows that he knows he has lost Irene. Even though he thinks he is doing the right thing by killing the people who are threatening to harm Irene, he is always going to appear as a monster. Yet as the audience, and what Refn wants the audience to see, is maybe he is a monster, but he is also the hero.
Violence and graphic content is an aspect of Drive that cannot go unnoticed. “If you see too much of it [violence], you start to disengage from it, and that’s where violence can become dangerous for the psyche, because it no longer has any meaning,” quotes Nicolas Refn in article (August 30th, 2011) ‘Drive’ Director Nicolas Winding Refn Talks Film Violence, Ryan Gosling, & ‘Logan’s Run’. Retrieved from https://screenrant.com/interview-drive-nicolas-winding-refn/ . It is these acts of aggression which demonstrate Driver to be the monster of the movie, but as the audience, we sympathize with him because every act of violence has meaning behind it. The gore, and bloody acts in Drive all have meaning. Proving that not all characters that hurt people in such a way have to be necessarily “bad”, as Driver has many hero qualities about himself. Some of these qualities being his caring love for Irene, his loyalty to Shannon and gentle ways with Benecio. Refn is demonstrating that gore isn’t always just a shock factor for the audience, the types of gory rampage in Drive pushes the audience to keep feeling for Driver, even though he is viciously murdering people. The passion behind the violence and the realistic nature of how it is shot, emphasises the brutality of the situation unfolding in the film. The sounds of crunching bones and quick cuts to bloodied heads display this. But also portrays how horrible Driver can be yet is still considered the “good guy” or “hero” of the film. Relating either further back to the sub-text which is that Monsters can sometimes be the real heroes.
Driver wants to be the good guy with all of his heart, but no matter what he does, he always ends up going back to his same criminal roots. Overall, Drive is merely questioning what is “a good guy” in a story? Driver saves Irene and her son from the mobs, and a life full of violence, but in doing so he turns into a monster. Refn is trying to break down the stereotype of a hero, and make the audience understand and realise that a hero, or the good guy, is not always perfect, and can have “dirty hands” in order to save the day. The cinematography, use of sounds, the soundtrack, and editing brings this violent fairy-tale all down to the sub-text that is; sometimes the hero can be a monster too. “Refn is on search to find a real hero [in Drive]” says Robert Koheler in (n.d) Nicolas Winding Refn and the Search for a Real Hero. Retrieved from http://cinema-scope.com/cinema-scope-magazine/interview-nicolas-winding-refn-and-the-search-for-a-real-hero/ .
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