- By Kevin Jagernauth
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- May 19, 2011 12:22 PM
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- 14 Comments
Why is "Drive" -- a seemingly trivial affair about a stuntman and part-time getaway driver, played by Ryan Gosling, pulled into deep and bloody waters on the neon-and-streetlight lit streets of L.A. -- even at Cannes, let alone in competition? It's not merely because of the bloody-but-brilliant background of director Nicolas Winding Refn, whose films (the "Pusher" trilogy, "Bronson," "Valhalla Rising") have demonstrated both an eye for composition and a taste for the jugular. It's not merely because of the film's cinematic roots, with the production seemingly crafted as a clear tribute to '80s-era Michael Mann and other synthesizer-and-faux-leather action-crime stories. Rather, you can make a case that "Drive" is here because action cinema and genre cinema are too important -- and too exciting, enthralling and, yes, artful when well made -- to be merely dismissed as suitable only for hacks to make and dolts to watch. French enthusiasm for American crime cinema from the '40s and '50s gave us the vocabulary and value set to truly appreciate film noir -- and anyone who can truly appreciate film noir will appreciate "Drive."
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