Baynes 1 Devin Baynes Prof. Lynne Throner ENG. 2101/ Summer Semester 17 June 2013 Analysis of a Narrative Film: Drive An Existential Hero Introduction What defines us as human beings is the ability to accurately and precisely convey our emotions; it is emotions that act as the filter that determines our actions and ultimately who we are. Drive is an exquisite art house film by Danish director Nicolas Winding Refn released in 2011 to critical acclaim where it won best director at the Cannes Film Festival, led by a superb performance from Ryan Gosling; drive explores the idea of what it is to be a human being devoid of emotion and led by instinct. Interestingly the iconic and signature satin scorpion jacket that the driver is always seen wearing, an integral metaphorical insight into his psyche was only chosen and hour before they started filming the movie and was on the verge of being filmed with a plain jacket with no logo. Lighting The lighting in this film plays an essential role in displaying to the audience who the driver is, as he does not convey any emotions of his own; the emphasis is on his mannerisms and actions to communicate to audience his feeling. Where every half smile, griping of the wheel, clenching of the fist, and fore longing glances tell more about gosling character than any amount of exposition ever could. One particular outstanding scene in terms of lighting was the final death sequence of the movie in which both gosling and brooks characters are seen attempting to kill each other and it is displayed skillfully through the use of shadows, which perfectly portrays how similar these two men are as they are undistinguishable in their shadow form. Both of these Baynes 2 men are criminals that inhibit the night and are constantly cloaked in darkness throughout the movie, representing the deeds that they commit and the violence they are capable of. The scene ends with the camera panning up on the driver while he lays on top his car wounded and alone but immersed in radiant sunlight. Sunlight bathing on the driver is symbolic of him having gained his humanity by killing his former self, represented by Bernie’s shadow. Driver is frequently shown in the movie to be driving through the grids of Los Angeles city at night and having only his eyes illuminated by the city street lights and the rest of his body is encased in darkness. Displaying a key factor in driver, while driver doesn’t show much external emotion internally the gears are always turning in his head and he is always watching, observing, and planning his next move in his head. Editing A scene that emphasizes the amazing aspect of the duality between Bernie portrayed by Albert Brookes and the driver is in the final act of the film. The scene takes place with the driver standing atop a tall building staring out onto the vibrant pulsating Los Angeles city at night with his back facing the camera, speaking on the phone with Bernie sitting next to the knifes that he holds so dear. The camera seamlessly cross cuts from Bernie to driver as a conversation between the two ensues. The similarities between the two characters in this scene as they both stare at the things they hold most dear is strikingly evident. With the fact that both characters love inanimate objects more than they love people, it is because of this detachment to any meaningful human connections that they are able to commit such extreme brutal acts of violence. Taking place moments after the scene is a similar scene between the driver and Irene played by Carey Mulligan where the same camera technique is shown. Here the audience is shown a contrast to Baynes 3 the last scene in which highlighted driver inhumanity to this scene which shows the duality between driver and Mulligan and his attempt to gain his humanity through Irene. Symbolism The most prevalent form of symbolism in the film is seen in the driver signature always present satin scorpion jacket. The jacket symbolizes the fable of the scorpion and the frog. In the fable the scorpion asks the frog to carry him across the river, but the frog is sacred that the scorpion will sting him. The scorpion argues that if he were to sting the frog they would both drown in the river. The frog agrees to the scorpion request and decides to carry him across, but midway through the scorpion does indeed sting the frog dooming them both to drown. When asked why he did it the scorpion replies because it is in his nature to do so. The fable is used to demonstrate that the natural behavior of creatures is irrepressible, no matter the consequences they may cause. This idea is a central theme of the movie; the driver is a creature of instinct without any emotional or mental barriers to hold him back. It is looking at the film through this lens that the audience can gain clarity to the gratuitous violence that they witness on screen. Driver is capable of such extreme and ferocious acts of carnage and violence because he is driven by instinct becoming animalistic and primal in these scenes. It is also through these acts of excessive violence that the audiences catch a glimpse of his desire to escape the idle isolation of the deserted streets of his abnormal psyche. Irony Driver is a complex character with no past or back-story and merely lives in the present the only reality he knows, this is empathized by the use of no flashbacks. In the film driver is seen as a deeply sympathetic character who only wants to escape the loneliness caused by his nature. This is seen in stark contrast with the levels of violence he is able to produce. One Baynes 4 expertly crafted scene displayed this contrast in which driver and Irene are in the elevator with the hit man, driver shares a passionate kiss with Irene in a moment of peace and serenity which transition spontaneously into a scene of grotesque violence as driver kicks in the hit man skull to protect Irene shown in all its gory entirely contrasting the kiss which was shown in its entirety before. This juxtaposition of beautiful tranquility and intense violence personifies gosling character; a man of two faces the light and the dark and one who wants desperately to form some kind of human connection. Theme ideas A major theme throughout the movie is the idea of good and evil, and what attributes makes one person one or the other. This is echoed in the film by a conversation between the driver and Irene son in which they are watching a cartoon where driver asks the kid who the bad guy is and the kid retorts the shark because he is a shark. Driver then asks the question if that meant there can’t be a good shark which is left unanswered by the child. This unanswered question is the central theme of the film, as gosling character is still seen as the heroic character trying to earn his humanity despite the brutal acts he is shown committing. Additionally, the theme of change and the inability to do so is a prevalent aspect of the film seen when the driver doesn’t return home at the end of the film to Irene and her son but instead returns to the night streets of Los Angeles, complemented perfectly by the dripping hot pink credit/titles and pulsating 80’s euro pop soundtrack. Reviewer viewpoints Drive received much critical acclaim when it was released with reviews citing and praising many aspects of the film. The savageness cruelty shown on screen lead one prestigious critic to say “Drive is pedal-to-the-metal stuff. Don't get behind the wheel unless you can take Baynes 5 the rush” (Long par. 1). I agree with this statement completely drive is not a movie for faint of heart, for it is a movie of a man trying to find his humanity and humanity can be soulshatteringly cruel as are the driver actions. Highlighting an addition aspect a reviewer said “Something under the hood of Drive captured my heart; director Nicolas Winding Refn has admirably crafted a fine piece of retro-noir cinema” (Wale par. 2). This statement is also in cohesion with my opinions as drive is a modern day noir film that expertly followed in the footsteps of the pictures of old, while at the same time creating a category all its own Personal evaluations Drive is a movie that engrossed me from start to finish with it lingering cinematography, visceral portrayals form it actors, and unexpected bouts of violence. The most meticulous technically sound scenes I adored the most in the movie where the long shots of gosling and mulligan characters and the straining moments silence when they would just drive through the Los Angeles city streets. It was just as deafening and visually absorbing as any other scene in the movie perfectly exhibiting the actor’s feelings without a word being said. I recommend drive to anyone wanting to see a film that will grip your attention from start to finish and have you question what it means to be a human being.
