Ryan Gosling has steadily made his way up the cool scale in recent years since first hitting my radar in movies like ‘Remember The Titans’, ‘Murder By Numbers’ and ‘The Notebook’. Whilst I don’t have an issue with the latter film, and actually believe it to be a good movie, the first two saw Gosling portray week, immature characters in poorly produced films. Perhaps ‘The Notebook’ was a sign of things to come as it saw Ryan begin to expand his talent and take on roles which required a sense of maturity. In ‘Fracture’ he starred alongside Anthony Hopkins and showed signs of the potential he possessed, however it was his role in ‘Drive’ where he announced himself to the world as a truly great actor.
‘Drive’ is doing the rounds on Movie Magic at the moment and I caught it – for the hundredth time – the other night. I loved it the first time I saw it and have enjoyed it every time since. The movie has limited dialogue and relies on visuals and a killer soundtrack to set the scene and tells a story, which gives it more of a work-of-art feel than that of a Hollywood driven film. The lead character – played by Gosling – is an existential hero, defined entirely by his behaviour who believes that actions speak louder than words. His actions are breathtaking swift and decisive. Yet he loves his neighbours, truly and deeply and is willing to do what is necessary to keep them safe.
One scene which I feel is a work of art, from every perspective is the motel scene after the botched heist. What makes the scene that much more brutal is that The Driver’s actions are not driven by emotions and he seems in complete control of himself, despite the graphic brutality of his actions. It’s a controlled form of brutality not often found in the movies which tends to be more terrifying to the viewer than some lunatic running around killing people. The Driver seems to understand what is about to happen and in a matter of seconds makes a decision on the course of action he has to follow. In a methodically brutal manner he handles the two hitmen and seems to only come out of his haze once he has finished them off, bloody-face and all. You get the feeling that he too cannot believe what he has just done and the way he pulls into the shadows and eventually out of shot is pure genius and a possible indication of the emotions The Driver is experiencing.
Here’s the scene:
And that gents, is why I am a Ryan Gosling fan! Pure genius.
You stay classy,