The Driver [1978]

It was the first film I saw which had all its characters denied names; they are known purely by what they do - the driver, the cop, the girl, and so on. I've always believed less is more and Hill's clever psychological manipulation of the audience proves it in this and many other respects.

Apart from two women who love the driver (Ryan O'Neal), no one likes or trusts anyone else. This creates a mood of mutual distrust and ropes us into a cat and mouse game played for real in a real world where very little is as it seems, and where everyone has their price. There is death, menace and corruption on these streets. But for all its understated figure expression, character delineation and long silences, no such frugality exists when it comes to the action set-pieces!

These are masterfully executed and burst onto the screen in long segments, borrowing heavily (in parts) from Bullitt (1968) and even augmenting the achievements of that film with its real-time feel and handheld camera shots. All this creates a steady contrast in pace and narrative tension without becoming overblown or just downright silly. Hill resists the Starsky & Hutch approach to car chases - there are no alleyways filled with empty boxes here (well, actually, there is one - but, hey! - just one!)

In a film of this calibre, as you'd expect, there are twists - the biggest being saved for the end. And how they got that car to land where it did in the final chase ... ? Well, I'll let you see that one for yourself.

It has dated pretty well too, I think. I just wish modern film-makers would go more for this style of chase sequence instead of boring techno-boom explosions, endless slo-mo and scratch-rap-style edits that play about with real time. Just film it like it is - which is what Hill does so well, and in this respect, it is a master class.

Incidentally, yes, The Driver is the influence behind the successful PS2 Driver 1/2/3 franchises.


Action speaks louder than words.   June 20, 2000
dmh99@hotmail.com (London)
10 out of 11 found this review helpful

Wow.

The most enigmatic gangster ever to tear across your screen. You could write O'Neil's script on the back of an ace of spades, but the abscence of verbosity adds incredible depth to the character.

This movie acheives an incredible sense of tension between the mo' money ethic of The Driver, his relationship with the Adjani character and confrontation with the Police.

That with the incredible thrills and spills of this superb chase film and the delicious twist at the end make this a MUST HAVE CLASSIC ! ! ! ! !


An exciting battle between a cop and a criminal !   May 3, 2004
10 out of 10 found this review helpful

Walter Hill's second directorial feature is a tough, hard-hitting, existential thriller in which there are no clear-cut heroes. The Driver (Ryan O'Neal) drives robbers away from the scene of the crime and The Detective (Bruce Dern) is a maverick, obssessed with nailing the Driver and ready to use any means necessary, even if it means breaking the rules. He hires a couple of lowlifes to lure the Driver into a trap, but when this backfires, things get hotter and the bait is the proceeds of a bank robbery.

This film contains two enthralling car chases which punctuate both the beginning and end. Hill has done an efficient job in directing these action sequences, capturing the true essence of what it feels like to be inside a car which is speeding down the streets of LA. The rest of the movie is just as good, as Dern closes in on O'Neal and imposes a threatening presence on him and the Player (Isabelle Adjani), a mysterious woman who is attracted by the Driver's dangerous lifestyle.

Both O'Neal and Dern are very good as the antagonists. Overall, The Driver has a gritty feel to it and some nice, suspenseful moments, especially towards the end of the climactic auto chase. The ending has a neat twist, too.