A modern classic

Rating: 10/10 (3 July 2012)

This review has taken me a long time to think out, and even so I don't think I'll be able to do it justice, but here goes.
Since Drive has been premièred at Cannes over a year ago it has been heaped with undying praise; during that première, it received cheering and afterwards, a ten-minute and rapturous standing ovation. Then came the reviews upon release: unanimous praise; I was hooked when a few critics compared it to The Driver and (the brilliant) Vanishing Point. Even my favourite critics - Roger Ebert, Mark Kermode and Philip Molloy - all sung its praises. Notably most critics spoke of its influences - John Hughes, Walter Hill, Gaspar Noe, Michael Mann, Alejandro Jodorowsky and even Risky Business. Influences, which if you have no knowledge of or appreciation for you may not 'get' the film. Because, make no mistake, this is a film which embraces cinematic nostalgia to its brilliant benefit; something Refn's fifth film, Bronson, also wonderfully utilized.
Then there's that cast; not just the obvious star, Refn has a truly impeccable troupe of actors before us. Gosling is truly a marvel in it, making the difficult role of 'the mysterious man' magnetic, mesmerizing and utterly convincing. For me, his performance evoked memories of Clint Eastwood's The Man with No Name or Alain Delon's protagonist in the classic Le Samourai. Carey Mulligan is reliably great, perfectly portraying the love caught betwixt two men; Bryan Cranston is fantastic (what else would you expect from the best actor on TV?) in a small, but vitally significant role; Ron Perlman is predictably a joy to watch as the "Jew running a pizzeria"; even those with less screen time, Oscar Isaac and Christina Hendricks still manage to impress and make a strong impression on the viewer. Even Kaden Leos is good as the young son, Benicio. But then there's Mr. Albert Brooks - an undeniably brilliant performance. All the more impressive when you take into account his largely comedic background ("A psychotic Woody Allen", as Refn remarked). He is sinister, dangerous and fully-fledged; deserving of all the praise and awards he picked up.
Newton Thomas Siegel's cinematography is a thing to behold; beautiful, enticing and authentic; which I found somewhat reminiscent of Paul Thomas Anderson's favoured use of grounded and firm shots or Peter Suschitzky's cinematography in Cronenberg's Crash. The pacing also, is a wonder; it is slow, yet hypnotic, and even as things intensify in the latter half, nothing feels out of character, thanks to the brilliance and naturalness of the pacing.
Then we have the euphoric 80s tinge: the ultra-cool music stylishness of Cliff Martinez, Desire, College, etc; the clothes, especially that now-iconic satin jacket; or even the architecture, which was actually cheap stucco and mirrored glass, carefully edited to leave out more contemporary buildings. Refn has stated that the chaste romance at the heart of the story was partially inspired by the films of John Hughes, which is beautifully and aesthetically evident, to the effect where it is one of the most nuanced, convincing and human love stories I've witnessed on screen. This love also marvellously plays out in one of the most tender, brutal and flawless sequences I've ever seen on screen.
This film blew me away, I hadn't seen a new film that impressive since Inception. It really is a modern classic as many of the critics hailed it, anchored not only by Gosling, but by Refn's impeccable and incredible direction. I eagerly anticipate Only God Forgives.