#Drive 2011 analysis driver
The Driver and Irene walk in as the doors close behind them. The scene in the elevator begins in the hallway of the apartments. The persona never carries over into his personal space, and as a result, the elevator is the first step into his switchover.
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The elevator is also the bridge between The Driver’s own personal world (his home, his personal space) and the outside world (the space in which his persona exists). The Driver first encounters Irene as he gets on and she gets off the elevator. The elevator, in general, plays a significant role in the lives of the characters in this film. This switch is further demonstrated in the elevator scene. The switch from good to evil is indicative of Grimm’s Fairy Tales, which is the switch from “pure champagne” into “pure psychotic” behavior, as the filmmaker has described. Nicolas Winding Refn keeps his camera inside The Driver’s car, much like Martin Scorsese did with Raging Bull (1980) and the boxing ring, allowing audiences to feel like they are alongside their respective characters.
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The Driver becomes a nocturnal figure, frequently roaming through his vehicle. In the second half of the film, the audience is presented with a darker presentation of this world. In the scene where he drives Irene and her son around the city, the warm color tones along with College’s “A Real Hero,” provide the scene with a sense of warmth. In the first half of the film, the audience sees The Driver’s world through rose-tinted glasses.
#Drive 2011 analysis full
The first half of the film is pure and full of innocence whereas the second half of the film is dark and moralistic. The fairy tale structure of the film divides the film into two parts. In his thoughts, The Driver is the “hero that comes in and protects the innocents against the evil that men do, and in that term, exorcises his own inner demons by sacrificing himself for the goodness of love and purity.” Nicolas Winding Refn has also compared The Driver with the likes of Shane and John Wayne and has associated him with folklore. In the film, The Driver is seen illuminating in his white jacket during night scenes, and in some ways, suggests his “character” only exists during times of crisis. The gloves, coupled with his jacket, allow for his transformation. In the heist gone wrong, The Driver questions Blanche’s motives, and as he does, he carefully puts on his gloves. In addition, his gloves are also an essential part of his costume. In a number of scenes, he even carries his jacket over his back, referencing a cape.
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In scenes when he is himself, rather than his persona, The Driver is always in regular clothing however, in scenes when he drives and extends himself in being a protector of others, he switches into his scorpion jacket much like a superhero does with his costume. In some sense, The Driver’s scorpion jacket is his costume. The Driver’s appearance is another indication of his persona. The scene that takes place in the elevator is the thesis statement of the film and represents The Driver’s transition from one mode of being into another. The film, in essence, is focused with The Driver’s transformation into a superhero-like character. In the same manner that superheroes crusade alone in the evening, The Driver drives he is a watchful guardian for his city. The protagonist of the film has no name, and in stripping him of his individualism, his character is further suggestive of a fictitious being, one that operates within his own boundaries, much like a superhero.