I don’t know that I’ve ever watched a more beautiful but empty film than Nicolas Winding Refn‘s 2013 thriller Only God Forgives which throughout every immaculately staged shot and beautifully lit scene feels like marionettes dragged around the screen by a director who refuses to let his actors, or their characters, have any agency of their own.
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“Beauty isn’t everything. It’s the only thing.”
In what is likely going to be one of the more divisive films of 2016, the latest from writer/director Nicolas Winding Refn (Drive) casts Elle Fanning as a naive 16 year-old girl just breaking into the model business in Los Angeles. Blessed with an ineffable quality no one can quite explain, Jesse (Fanning) soon becomes the hot new girl, much to the dismay of a pair of models (Bella Heathcote and Abbey Lee) seeing their careers flash before their eyes.
Jesse’s journey will lead her into contact with a wide variety of people including her creepy apartment manager (Keanu Reeves), jealous models, designers, photographers (Desmond Harrington and Karl Glusman), and a makeup artist (Jena Malone) all of whom want something from the young woman.
Refn’s film is a metaphor for how the modeling industry celebrates physical beauty in the absence of any other quality while slowly devouring the very objects of their devotion. The film takes the metaphor one step too far in the final act leaving the film with an ending that satisfies the movie’s message but not necessarily the audience.
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Based on James Sallis‘ 2005 novel, adapted for the screen by Hossein Amini, Drive stars Ryan Gosling as a getaway driver with no name who finds himself in a sticky situation when he breaks his own rules. If this sounds a little like The Transporter franchise, well it is, but director Nicolas Winding Refn decides to treat a rather ordinary action tale as an art house film drawing comparisons to dramatic action films of the late 60’s and 70’s like Steve McQueen‘s Bullit.
The Driver has everything he needs. His evident skill gets him consistant stunt car work and the far more lucrative (though far less legal) jobs no one else can do. His business partner (Bryan Cranston) has just closed a deal with a mobster (Albert Brooks) to buy a stock car which will allow the Driver to finally hit the big time. But when the Driver allows himself to be sucked into the troubles of an attractive neighbor (Carey Mulligan) and her young son (Kaden Leos) by agreeing to help her husband (Oscar Isaac) pull off a big score things go horribly wrong.
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