Apparently there's an original cut that's supposed to be 30 minutes longer, and i just feel it's what this movie needs to pass from a masterpiece in action film to just simply a masterpiece. But, i don't think anybody did car chases better than Walter Hill here, i mean red pick-up truck and Adjani on the passenger seat, you just can't beat that.
Primo poliziesco di Hill e grande saggio di regia e tensione narrativa.Si notano le atmosfere notturne che poi esploderanno in Warriors,così come l'abilità nell'action,nell'introspezione e nello script dei personaggi.Ambiguo e affascinante,sembra un trade-union tra lo stile '70 e quello '80,poichè mescola alla grande la notte e quegli ambienti criminali che domineranno un decennio. Un grande cult,indubbiamente.
Ryan O'Neal's sad eyes are the center of The Driver, undercutting the exciting car chases and suspenseful intrigue with a vague, unspecified tragedy. Like other 70s genre films, The Driver's visual tone is a bit too dark and static for my taste, but Hill creates a fascinating world of professional hustlers, stripped of their identity or desires, defined only by their actions.
This is one of the coolest movies I've seen. And I've seen Daddy Day Care twice so my word means something. Also, if you didn't like Drive, watch this. It's the original and has better chase scenes, though it does lack Gosling abs and Hendricks curves.
Lean efficiency is the hallmark of Walter Hill's sophomore effort, THE DRIVER, a taut chase thriller about a getaway driver who is constantly pursued by a relentless cop. A spiritual predecessor to DRIVE, Hill strips down his characters to their bare essence, whittling each one down to their most essential elements - their purpose, in a world where one's profession means everything.. A remarkable film.
It's clear that Heat and Drive have The Driver as an ancestor; similarly, this feels like an update of Le Samouraï. And while I didn't enjoy it as much as Melville's fine film, there's more than enough to sate the appetite. In particular, the car chases are fantastic and the last fifteen minutes are intense.
This pushed every one of my buttons: Isabelle Adjani; car chases; a quiet, cool as hell protagonist with a moral code, weighed down by existential funk; an obsessive cop willing to bend the law to bring down his mark... Very reminiscent of Melville's glacial crime movies starring Alain Delon. Its influence on To Live & Die in L.A, Heat and particularly Drive cannot be overstated. Superb.
A pleasant surprise, certainly Walter Hill makes a bow to Melville. Even Ryan O'Neal is good (did I really say that?). Bruce Dern gives one of his better turns, Walter Hill gives all that testosterone emission he's know for (read car chases, tough guys, guns) but in an almost somnambulance style. Bit of a sleeper in it's day.
The car chase as hunt. The wail of police sirens is the cry of some great predatory bird of prey; the strikingly blue headlights, the eyes of a crocodile or a hyena by night. The cars themselves seem to prowl, more alive than the resigned fatalists and compulsive thrill-seekers inside them, who drift through their neat, sleek lives as though they were protracted heists. An influence on Mann more than Refn, I think.