He's a literal knight in shining armor with his shiny, silver jacket and scorpion symbol on his back, like some courageous superhero. His sense of self-sacrifice, without any real promise of return from anyone is also near Biblical in its references. He's emotive not because of what he says, but for what he does, displaying a caring attitude and gentleness toward this woman and her boy. He's quicker to smile than those other "cool" guys too. Simmering just beneath the surface is a man with a soft spot for his apartment neighbor and her son. But unlike McQueen, Eastwood, and Delon, he is asked to be a far more sensitive actor. Yes, Gosling maintains a heightened look of the iconic "man with no name", oozing style. He's a man with deep-set pain beneath the surface, with the super-cool veneer only covering up his yearnings for love and redemption.
One can sense the heart behind Gosling's eyes. Thus, Refn and Gosling have put the emotion back into neo-noir. One is the fact that he makes the hyper-masculine myth into a more emotional expression. There are a few clear delineations that make Refn's film his own, rather than purely derivative. The rest of the film is a wild and memorable ride through L.A.
DRIVE 2011 WHERE TO WATCH DRIVER
The Driver decides to help her husband get out of some debts by being his driver in a heist. Soon, the bloom of love is thwarted when Irene's husband gets out of prison. He becomes attracted to his apartment neighbor Irene (Carey Mulligan) who is living alone with her young son. Ryan Gosling plays a man who is a hired getaway driver by night, and a stunt driver during the day. But he doesn't stop there, as Refn also throws in Christ-figure references and a superhero pastiche all to a magnificent end. For me, Drive played as a combination of the souped-up masculine aesthetic coupled with overtly pulp melodrama. I grant that on the surface the film seems highly reliant on plot that comes from other films: Melville's, Mann's, Friedkin's etc. For those that don't like it, many complaints are that is borrows too heavily from the films of Michael Mann and Jean-Pierre Melville. I've read many reviews by people that love the film and many reviews by people that don't. Nicolas Winding Refn's Drive is a brilliant piece of escapist cinema, one loaded with potentially multiple ways in which to interpret it as attested to the range of appreciation it's getting.
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