#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – “The Driver” is a specialist in a rare business: he drives getaway cars in robberies. His exceptional talent prevented him from being caught yet. After another successful flight from the police, a self-assured detective makes it his primary goal to catch the Driver. He promises remission of punishment to a gang if they help to convict him in a set-up robbery. The Driver seeks help from “The Player” (Isabelle) to mislead the detective.
Plot: The Driver specializes in driving getaway cars for robberies. His exceptional talent has prevented him from being caught yet. After another successful flight from the police a self-assured detective makes it his primary goal to catch the Driver. He promises pardons to a gang if they help to convict him in a set-up robbery. The Driver seeks help from The Player to mislead the detective.
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|7.2 Votes: 233 Popularity: 11.297|
I love Hill’s stuff, I think the car chase sequence is great and how Hill captures a city’s landscape is amazing ( 48 hrs (my favorite) and The Warriors has that trademark as well.)
This week we take a look at the intense neo-noir, The Driver. Directed by Walter Hill, this cold neo is a perfect example of how film noir evolved into experimental crime films in the 1970s.
No doubt inspired by Le Samourai which itself was inspired by This Gun For Hire, The Driver is a cold, lean piece of pure cinema. A night time world of criminals and angry cops.
Film noir isn’t known for car movies, but there are some great moments of criminals “on the lam” living and dying in cars. Gun Crazy and the recent Criterion release of They Live By Night have some hypnotic crimes taking place with the point of view from inside the car looking out. The point of view draws the viewer into the driver’s perspective and it’s always mesmerizing. You almost always get a jolt of adrenaline when you feel you’re in a real car on a real street corner. Walter Hill’s The Driver takes those moments and makes an entire movie out of it.
Starring a very disco cast, the film has barely any dialog. Bruce Dern gets the most lines as the man chasing the “driver.” Mostly he frustratingly barks at middle-aged-hard-life-cops played by day-player actors that peppered every crime films of the time. Beautiful Isabelle Adjani is the female lead. And Ryan O’Neal is the handsome driver. Sporting long-ish, wavy hair and an open collar, he looks more like a playboy trying to pick up Diane Keaton at a bar than a hardened criminal.
Originally Steve McQueen and Robert Mitchum were at least close to playing the Ryan and Dern roles. The film would most definitely be more beloved — even possibly a classified as a classic — than forgotten if they had those guys in it. But would it be a better movie? I’m not so sure. Ryan has no actual backstory but his look just makes him more interesting. What is his story anyway? Hell, the guy doesn’t even have a name. That’s exactly what I thought watching the killer in Le Samourai. Why and how did they become what they are? O’Neal also has a great entrance. Slowly rising. Coming into frame one one of those man lifts that parking garage guys use to go up flights quickly. And Bruce Dern was never better than he was in the 70s. He looks like he could be Ryan’s brother.
The film succeeds when you realize and accept there’s not much plot or humor.
Just enjoy the ride.
It resists the Burt Reynolds joke-y 70s car movie hijinx and takes thing very seriously (and I love those fun Burt Reynolds comedies). Never do you think O’Neal is enjoying his driving or frustrating police. With a deadpan face and unmoving hair, it’s all about the visuals in 70s neon-lit downtown LA and the pleasing sound of metal bending, tires squealing, and gears changing. It’s amazing that McQueen turned the role down saying he didn’t want to do “another car movie.” It would have been one of his best. Instead, it’s a pretty much forgotten film that was panned as pretentious in 1978. A box office bomb that would be a critical darling if it was put out today.
With the release of Baby Driver, director Edgar Wright has made it clear that his film was made because of the inspiration of watching The Driver over and over again late night on the BBC. The Ryan Gosling film Drive, a completely different movie than Baby Driver, was also a direct tribute to the 1978 neo noir.
You could pair off The Driver with a number of different films for a double feature. As I mentioned before, They Live By Night, Le Samourai, and a number of other 70s thrillers like Sorcerer, Bullitt, or even the equally panned romantic Aloha, Bobby and Rose would all make great double features with the beautiful, petal-to-the-metal neo-noir The Driver.
Some would argue that a film like this shouldn’t be considered noir. Well, they’d be wrong. It has all the elements of a film noir without trying to pretend to be from the 1940s. And it’s a hell of a ride.
A Fine Study In Cool
I looked long and hard for this film and finally found it online… About a year ago I found the novelization at a local used bookshop and was enthralled. Then I shook loose a repressed memory of a scene from the Driver -well more like an image. That of Ryan O’Neal behind the wheel -shades in place, a study in cool.
Well I was obsessed and had to find the film. Once I did, it was like some sort of archaeological find. I popped it in the vcr (old school all the way) and sat back ready to be taken into a dangerous world of ruthless and amoral characters who live by some sort of twisted samurai code and law of thieves.
In a nutshell, this film delivered in spades. If you can find a copy of it, buy it or rent it. The car chases are extraordinary. The performances and cinematography are gloriously minimal and committed to the aesthetic of ‘cool’.
It’s a shame that junk like “The Transporter” and “Gone In Sixty Seconds” have come to embody the modern day equivalent of the existential bad guy and wheelman. Those films aren’t fit to shine the chrome of this one.
One of Walter Hill’s Best.
Walter Hill’s superbly austere, arresting & exciting existential noir car chase crime thriller gem
Walter Hill’s second directorial effort after his terrific debut feature “Hard Times” may very well be one of his best films ever, a tense, steely, tersely plotted and resolutely tough-minded crime thriller done in vintage gritty, amoral, staunchly sinewy and unsentimental existential noir style. The usually wanting Ryan O’Neal makes for a surprisingly sturdy and credible protagonist as the titular ace getaway driver, a laconic, audacious, always cool and in control crackerjack wheelman par excellence who’s doggedly pursued by a brutish, browbeating, obsessively wacko and determined detective (the ever-manic Bruce Dern in first-rate fruitcake form). Dern tries to collar O’Neal in an elaborate bank robbery set-up, but seriously underestimates O’Neal’s razor-sharp cunning and resourcefulness.
Hill’s tightly wound direction expertly pumps up the brooding, cold-as-ice atmosphere and makes every minute count: both story and characterizations are cut to the bone, the pace remains taut and fleet throughout, the spare, hard-edged, occasionally profane dialogue mines a fine line in hard-boiled reticence, the nervy cat-and-mouse game between Dern and O’Neal vividly reveals the rigid hierarchy which exists in both cop and criminal subcultures alike, and the justifiably lauded ultra-kinetic, heart-pounding, metal-mangling car chase sequences contain a raw, savage, lump-in-your-throat harrowing power that’s undeniably arresting and exciting. Phillip Lathrop’s shadowy cinematography and Michael Small’s bluesy score add substantially to the overall hard-hitting no-nonsense tone. Dern and O’Neal are fantastic in the lead roles, with able supporting turns by Matt Clark as Dern’s whiny, talkative, but more level-headed fussbudget new partner, the lovely Isabelle Adjani as a sweet young thing who gets caught up in the fracas, Ronee Blakely as a cagey underworld connection, and the ubiquitous Bob Minor as a stick-up man. Lean, mean and thoroughly gripping, with no sappy pathos or lame smartalecky humor to detract from the firmly rough-edged goings-on, this authentic no-fooling article truly deserves its significant cult status.
Original Language en
Runtime 1 hr 31 min (91 min), 2 hr 11 min (131 min) (director’s cut) (USA)
Genre Action, Crime, Thriller
Director Walter Hill
Writer Walter Hill
Actors Ryan O’Neal, Bruce Dern, Isabelle Adjani, Ronee Blakley
Production Company EMI Films Ltd., 20th Century Fox
Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera Panavision Panaflex
Laboratory DeLuxe, Hollywood (CA), USA (color)
Film Length 2,481 m (Sweden, cut version), 2,500 m (Sweden, uncut version)
Negative Format 35 mm (Eastman 100T 5247)
Cinematographic Process Spherical
Printed Film Format 35 mm