Although the film is called "Desperate Driving", in fact there are only three car chasing scenes, and the longest one is only 5 minutes. This move shows the director’s wisdom. After all, Hollywood classic car chases are everywhere. Instead of burning money to shoot cars that are not necessarily brilliant, it is better to place the camera in the car and take more pictures of Gosling’s side face to enhance the charm of the characters. It's a good deal. There are still many violent scenes to make up for the lack of car chasing, and the director's abacus is very successful. The music in the film is full of personal taste, although sometimes it is not in harmony with the picture, but it should allow the audience to open up the Internet because of the beautiful singing. In the film, the full-featured pictures and the fresh sense of lens interpret a clichéd story full of vitality.
"Desperate Driving" is the most ingenious combination of American culture with literary and violent aesthetics. It has collected too many shocking elements. The temperament is gloomy, there is basically no large-scale dialogue in the whole story, and all the language and emotions are highlighted by the creation of atmosphere. The action scenes are sharp and bold and blood splashes on the screen. Although there are not many racing parts, the design sense and overall standard are not inferior to the traditional car action movies.
In the protagonist's calm perspective, fierce speed, and faint emotion, the movie exudes an intoxicating cruel depression. Ingeniously escaped the bridge, the gangsters’ brutal and inhumane retaliation was short, and the simple but tragic lines of emotion, the collision of extreme cold and extreme heat, sparks splashing everywhere, but all this is full of gentleness, reality and strength.
The Danish director Nicholas Winding Refern uses a kind of Nordic alienation to "sink" off the possible peaks of the film. Under the director's scheduling, the film's rhythm oscillates violently between "boring" and "explosive". The suffocating speed collides with the slow and long details of life. The bloody violence next door is the tenderness that is cherished and cherished. In shooting this noir film with a weak sense of logic, the director obviously gave up the narrative perfection, and instead used poetic expression and peculiar bones to prop up the dimension of the story.
The "Nordic lighting" of the film is unique. It is not bright or even dim as a whole, but it is highly saturated at some unreasonable "points", such as the character's forehead and the light in the eyes, creating a real and dreamy coexistence. , Catering to the peculiar vision of intertwining with rejection. This kind of light and shadow completely weakens the specific location and various identities of the story, and replaces it with an emotional freshness that runs freely.
