We are all aware of Hollywood’s so called ‘masterpieces’ - films that are objectively considered the classics of cinema. Films like Citizen Kane (1941), The Godfather (1972) and Goodfellas (1990) undeniably changed cinema both from an audience and filmmaking perspective. Nevertheless, I’d like to shed some light on the films that I believe should be considered ‘masterpieces’ in the modern era of cinema.
Directed by the exciting Nicholas Winding Refn as he ignites
his fruitful partnership with Ryan Gosling. Drive is the story of the daytime
mechanic and stunt driver played by Ryan Gosling, who dips his toes into a life of crime as an efficient and gifted getaway driver for hire. His life
takes an eventful turn as he encounters Irene (Played by Carey Mulligan), immediately
falling in love with her in the most effortless way possible. An issue arises
as Irene’s troublesome husband arrives back into their lives after some time
spent in prison, the driver must then come to terms with a number of dilemmas
as he gently descends further into a life of crime.
Drive is the kind of film that stylistically knocks
you back from the very first moment. As ‘Nightcall’ by Kavinsky plays in the
first driving scene, you immediately come to terms with the films distinctive
electronic soundtrack and the unbelievable cinematography that follows. As a cinephile
myself, I understand the difficulty that filmmakers have in crafting night-time
scenes onto the big screen, and no film creates the feel of the night quite like
Drive. The ability to highlight the danger of the night, but the
overwhelming sense of excitement that comes with it. All of this lifted by the
talent of Ryan Gosling’s ‘Driver’.
Drive was also the perfect embodiment of the ‘Quadrant System’. A technique that creates a ‘lively’
shot on screen, naturally displaying the hopes, thoughts, and feelings of the
characters, along with the power dynamic in any scene, all fluently working at
the same time. Drive is vibrant, unpredictable, and colourful. A
masterpiece in cinematography and direction.
I don’t know exactly how many lines Ryan Gosling has in this
movie, but I can tell you it’s not many, and even still it is the perfect amount.
It is the ideal example of what a good acting performance needs at the basic
level – strong physicality. You don’t even need dialogue to understand what the
driver is feeling, and this is testament to Ryan Gosling’s underrated brilliance
as a physical actor. Also understated is his undeniable on-screen chemistry
with Carey Mulligan, an overwhelming sense of attraction and frustration,
documenting two people who love each other but have simply met at the wrong
time.
Drive is beautiful. Both technically and thematically,
it is undoubtedly a masterpiece of modern times. An illustration of simplicity
done well, showing that there is a reward in modesty. Rich and curious,
Drive is like nothing else, it truly stands alone in time.
A modern masterpiece.
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