David Foster Wallace is obviously magnificent – brutal and poetic at the same time. And John Krasinski’s film was full of clever discourses and post-modernism and lyrical interpretations of blah blah.
But oh, sweet baby Jesus. Can we talk about Max Minghella’s voice in this movie?
Why are we making him play American web developers? Just let him do podcasts for days on end, reading encyclopedias in his English accent.
I’ve gone on about this film and its Taxi Driver inheritance for far longer than is polite, so let’s just get to the soundtrack.
Katyna Ranieri’s vocals were just haunting on that piece that played during the mask bit, but I’m betting these are the two that haven’t quite left you since you saw Drive.
Over the opening titles, Kavinsky’s Nightcall, featuring Lovefoxxx.
I’m giving you a night call to tell you how I feel I want to drive you through the night, down the hills I’m gonna tell you something you don’t want to hear I’m gonna show you where it’s dark, but have no fear
There’s something inside you It’s hard to explain They’re talking about you, boy But you’re still the same
And during the scene where the Driver/child/Irene dynamic plays out, A Real Hero by College, featuring Electric Youth.
Water warmer than his head so cool In that tight bind knew what to do And you have proved to be
He’s an extraordinary songwriter/musician, which is why I suspect that his actual voice is often overlooked. But it is something that gets under your skin like a belief.
Delilah is another song in that grand tradition of art (see When Harry Met Sally and anything starring Michael Cera) that’s devoted to the fact that boys and girls can’t ever be friends once they’ve acknowledged each other’s gender.
Why does a man have to resist a never-ending happiness? Delilah, Oh Delilah
I got myself out of the way My debt to you is now repaid I was a fool to let you go I’m sorry and I love you so