#Drive 2011 cast driver
#Drive 2011 cast series

Like the hero of Hill's The Driver he has no name, and nothing is revealed of his background. He plays a man inseparable from his car in a city dominated by the automobile. Like McQueen he communicates through fleeting smiles and slight grimaces. And it focuses on one of the most interesting new Hollywood stars, Ryan Gosling, an actor with a face that's currently developing character and registering experience. Like the novels of Raymond Chandler and the paintings of David Hockney, Drive is both an accurate view of southern California's intoxicating sleaze and glamour and the filtering of it through a European sensibility. Key pictures in this particular cycle saw British director John Boorman direct Lee Marvin in Point Blank, which brought the style of Resnais and Godard to Los Angeles, Walter Hill make the existential heist classic The Driver under the influence of Jean-Pierre Melville, and William Friedkin and Michael Mann give us, respectively, To Live and Die in LA and epic LA thriller Heat. The figure the makers have in mind is Philip D'Antoni, celebrated for a trilogy centring on spectacular urban car chases вЂ“ Bullitt, The French Connection and The Seven-Ups вЂ“ the first set in San Francisco and starring a super-cool Steve McQueen under the direction of British director Peter Yates.

#Drive 2011 cast series

Now another Dane, Nicolas Winding Refn, who made his name with a series of pictures about Copenhagen's international underworld and three years ago directed impressive British crime film Bronson, has come up with one of the year's most stylish American pictures, Drive.ДЄll these movie-makers bring fresh eyes to the Anglo-American scene, and Drive explicitly refers to the subgenre of the Hollywood action pictures it evokes: one of its characters identifies himself as a former producer of car-chase thrillers, influenced by classy European cinema, which flourished from the late 1960s. These past couple of weeks we've seen the Dane Lone Scherfig follow her British debut, An Education, with One Day, and Tomas Alfredson, the Swedish director of Let the Right One In, cross the North Sea to make his excellent version of Tinker Tailor Soldier Spy. Echoing the legendary words of Paul Revere to his fellow Bostonian colonials, he shouted: 'The British are coming!' Similar hubris, one trusts, will not possess the current wave of Scandinavian filmmakers, though they might be forgiven for chanting: 'The Vikings are coming!', that admonitory cry that once had the frightened denizens of our east coast lighting warning beacons and locking up their daughters. Here, violence becomes a protagonist and suspense becomes art.T hirty years ago Colin Welland brandished his Chariots of Fire Oscar aloft at the Academy awards ceremony.

This is the territory to which Cronenberg attempted twice to return to, placing Viggo Mortensen in more or less convincing roles. It is a bomb of coolness and style that strikes the senses and assaults your expectations. It is a film made in Hollywood by a director that has not resigned to his trademarks and plot-pacing features so that he could get financially greedy. Winner of a Best Director award and nominated for the Palme d'Or at the Cannes Film Festival, this is not a Hollywood movie. This turned out to be hist most accessible feature. The camera is a silent stalker, intimidating and seductive at the same time. He has perfected his visual style all the way from Pusher (1996) until Bronson (2008), including the immaculate camera placement and the golden lightning he uses for illuminating the darkest corners. The underground nudist dive bars / seedy joints cannot be omitted, of course. He still uses an awesome techno soundtrack (with some pop touches that I can forgive) to open his films and to close them. He still likes to dress his crooks with light grey pants and have some of them bald, like if they were still living in Denmark. Before you ask, this is not my first Refn movie.