Drive uses jump cuts in a slightly different way than jump cuts are usually used here. Normally jump cuts make the in-your-face and urgency of a situation rise to the surface. Here the jump cuts work as normal, they are fast paced and motivate the urgency of the scene for the audience but Ā fail to phase Ryan Gossling (Driver). The Driver stays calm and professional to a degree which defies the jump cut. The Driver is not moved by the passage of time nor the neediness of the two robbers in his rear seat. Ā The camera constantly cuts to his very nervous passengers and the start contrast between the driver and the robbers is almost unsettling. After the viewer watches the scene they are rooting for the Driver, maybe for no reason other than its Ryan Gossling. Either way the audience is feeling the urgency of the chase scene and the calm demeanor of theĀ Driver is reassuring and inspires confidence. Ā Then the Driver turn up the radio that we have been hearing between the police scanner, Ā The Clippers basketball game. This cut takes the Driver even further emotionally out of the scene, almost poking fun at the job he is doing. By the end we see that he has taken the criminals to the parking garage near the basketball game as cover for escaping, almost humorous. The jump cuts in Drive move the story along in a timely manner but function well as character development for the Driver. A difficult task but achieved to perfection here.
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Homework #2: The Italian Job (1969)
The Italian Job (1969)
The Italian Job is one of the most memorable openings to a movie I have seen. Ā In short, they destroy a Lamborghini Miura. What is really interesting about it is the composition of camera shots and theĀ surprise that comes when it crashes. The camera shots for the first minute or two are accompanied by lovely music and shots that indicate not even a touch of danger. The opening credits roll in and we start to see from inside of the car. Personifying the person inside, not as good or bad yet, but as on their way to a meeting. A person of wealth on their way to a meeting. Credits continue to roll in and we see out the front of the car, the driver carving corners. Taking the racing line when safe but not a touch of danger inĀ the Italian mountains. Then the driver goes into a tunnel, the music stops and the engine roars and echos in the tunnel. As the car fades into the darkness we get a sense that it may be going bad or we may just be fading to black. Then the tire screeches and the explosion. The Miura totaled. It would almost be a crime today to crash one but back in 1969 it was like crashing any modern sportscar. To top it off we see that not only was a crash but a setup as the bulldozer pulls the car out of the tunnel. The driver looks over to the man who clearly is the boss and then pushes the car over the edge of a cliff into a stream. We then see the car be torn apart and the men take off their hats in a statement of respect. Why does this stick with me? I’m not sure. Maybe its the elaborate plan it took to kill one person. Maybe its the fact that they destroy a cool car. I’m sure that the whole presentation of the scene and the prolonged surprise add to the effect. I enjoy the scene for its dynamic range from pleasant to horrible all in a matter of seconds and it never shows any death blood or gore on screen. The setupĀ looks professional, maybe that is the point.
