It's been quite sometime since strong, silent male lead is 'in' in Hollywood. It used to be John Wayne, Clint Eastwood, but I guess they sort of fell into disinterest with the loss of audience interest in westerns. In the late 80's early 90's we had wise-cracking, gun-blazing action heroes like Arnold and Bruce Willis, and in the 2000's the taciturn hero made something of a comeback, although it is not entirely similar to those usually found in old westerns.
Jason Bourne brought this trope into the frenetic, shaky-cam action genre. Then EON Studio decided they should emulate Bourne with James Bond, and they rebooted the franchise with a younger, less charming, unsmiling Bond. I see a bit of this trope in Clive Owen's gunman character in Shoot Em Up too. But they are not exactly similar to the roles played by John Wayne and Clint Eastwood, in the sense that they are usually characters who are always on the backfoot, being chased by the bad guys after they were double-crossed or betrayed. They are very vulnerable. On the scale of white-knight to anti-hero, they are more often than not closer to the former, whereas the older characters always have this conniving streak in them, even if what they are fighting for is something good. They are always one step ahead of the bad guys, and action is almost never the focus of the movies they are in. They do shoot guns or rifles, but not in a dual-wielding-dive-from-behind-cover type of shooting. And they are not martial artists, their fights are brawls, or fistfights.
This is why I love Nicolas Winding Refn's Drive, his Hollywood debut. The Danish director's movie has minimal dialogue, and the casting of Ryan Goesling as the lead works really well with the lack of dialogue. The story is about a mechanic, stunt and getaway driver who befriends his neighbour and her young son. Things unravel when the woman's husband comes back from prison, and the Driver (he is unnamed throughout the movie) is embroiled with several underworld figures. Playing the neighbour is Carey Mulligan, and the movie is supported by Ron Perlman as a mob boss, Bryan Cranston as the Driver's friend, Oscar Isaac as the neighbour's husband and Mad Men's Christina Hendricks.
The movie shows the kind of man Goesling's character is, a loner who is efficient at what he does, even in speech. He is able to convey what he feels (or that he's hiding something) with very few words, and the progression in his relationship with his neighbour is enjoyable to watch. Even when he is in a scene with other characters, they talk more than he does.
I talked about the scheming part of the strong silent type, and you see the Driver doing this, even though he ultimately does it not for himself. And unlike the slightly similar heroes of the 2000's, he is violent (God, the elevator scene), but not in a gun-blazing way.
And what really sells it for me is that Goesling is not a typical rough-looking muscle-bound, tough guy. He's physically a bit of a pretty boy, used to be one of those Disney kids, and this contrast makes his movie persona even more enigmatic and interesting. He would go on to play this type of character in another movie, The Place Beyond the Pines (2012). Although this movie isn't as good as Drive, I still enjoyed his performance in it. I guess the strong, silent type lead has a torch-bearer in Ryan Goesling.
In addition, this movie has a nice 80's vibe going on with the music (check out the soundtrack) and the cinematography, although it's not actually set in that decade.
And what really sells it for me is that Goesling is not a typical rough-looking muscle-bound, tough guy. He's physically a bit of a pretty boy, used to be one of those Disney kids, and this contrast makes his movie persona even more enigmatic and interesting. He would go on to play this type of character in another movie, The Place Beyond the Pines (2012). Although this movie isn't as good as Drive, I still enjoyed his performance in it. I guess the strong, silent type lead has a torch-bearer in Ryan Goesling.
In addition, this movie has a nice 80's vibe going on with the music (check out the soundtrack) and the cinematography, although it's not actually set in that decade.
The GOOD: Good story made into a exceptional movie by Goesling's performance.
The BAD: Same criticism of an earlier movie of Refn's that I reviewed, Valhalla (2009).The ultra-violence. The shotgun-to-the head scene, the elevator scene. I kind of get the need for blood, but what does gore serve to the audience?
My VERDICT: this movie is a 7.5/10
TRIVIA: Refn and Goesling would collaborate again for Only God Forgives (2013), which I haven't seen. The reviews are not very good though, and I don't really feel like putting up with another head-stomping scene if the movie isn't any good.
