Can you remember the last time you watched a film, got out of the theatre and turned back inside straight away?
That’s what happened to me after Baby Driver; minutes after leaving, I made a 180 degrees turn because I just HAD to experience the whole thing again. I wanted to imprint every scene in conjunction with its soundtrack in my memory, grasp every detail in the performances, and essentially enjoy myself on repeat. Baby Driver is a fascinating and magically entertaining motion picture that captivates the audience with its caricature characters and stylised micro-settings. Music is employed as a narrative mechanism that is equally a recipe for infectious joy and excitement.
The first scene is an excellent example of Wright’s incredible directing style: Baby is lip-singing Bellbottoms (performed by The Jon Spencer Blues Explosion) while waiting for the gang to wrap up the robbery, get into his red Subaru so that an impressive and thrilling car-chase can start. This particular set-piece is masterfully choreographed and quickly gives away that Baby Driver in a few decades time will be surely enlisted in the classics.
Scenes are not merely dressed with the appropriate songs but they are purposefully designed to match their rhythm and intensity. Wright’s brilliant concept makes his film particularly powerful for everyone; just count the times you’ve attached everyday moments to particular songs and swayed to their melody by improvising scenes that resembled music videos, or the times you replayed memories while enriching them with song that could turn them into perfectly synchronised musical settings.
Baby Driver is an amalgam of crime, violence, romance, action, thriller, drama, dark comedy, and musical and therefore, it constitutes a genre in itself. The music score is in complete harmony with every movement and sound in the scenes, in a way that music and narrative are inextricably linked. Instead of being disorienting, Baby Driver’s musical flow bizarrely adds to its structure and storytelling goals. And it is precisely thanks to its fluidity and multi-sensory richness that it makes you crave re-watching the scenes in order to catch things you might have missed the first time.
Baby Driver is a stylish hybrid dipped into American aesthetics; it reflects modern pop-culture through the lens of cult classics hence, notably resembling Tarantino in the ‘90’s (minus the explicit, blood- infested violence) but at the same time, it feels old-fashioned in its details, by presumably drawing inspiration from the classic Hollywood era (as indicated by the B& W day-dreaming scenes with Baby and Debora).
One of the film’s greatest strengths is the assembly of amazing and memorable supporting characters. They’re all conceived in a way that they fall into stereotypes, yet they gloriously leave their distinctive cinematic print thanks to Wright’s witty dialogues and the cast’s remarkable performances.
Buddy and Darling represent a more evolved and sexy version of Bonny & Clyde, in that they are partners in life and in crime. Eiza González presents Darling, a seductive and vengeful thief who is also, a jewel and bubble-gum enthusiast and thankfully, doesn’t disappear under a clichéd and decorative depiction of the femme-fatale in crime films. Jon Hamm portrays her other half, Buddy who is a relatively warm, easy-going guy with a distinctive deep voice and sarcastic grim. The plot’s turn in act three gives Hamm the opportunity to branch off the attractive, macho man persona and dive into raging insanity.
Griff’s (Jon Bernthal) frustration towards Baby’s attitude spurs a comical monologue that balances a humorous teasing against a bleak warning. Jamie Foxx as Bats is intense and funny but transmitting a very unsettling and dangerous vibe though his maniacal and dry gaze. Kevin Spacey stays faithful to a cold, distant and almost robotic portrayal of Doc, only for his unintentional paternal instincts to be revealed towards the film’s epilogue, triggered by his emotional vulnerability towards true love.
Lily James gives us a Debora that can be easily adored thanks to her evident beauty and graceful personality that is conveniently subtle and discreet enough only to support and trigger Ansel Elgort’s lead performance as Baby (with whom she also has great chemistry). Elgort feels natural and spontaneous on-screen and ticks all the right boxes as he convincingly appears tender (especially when caring for his foster dad), romantic and innocent but also, fearless and brave.
After the film you might want to watch it again (yeah, it’s that good!), wear your sunglasses all day & night, talk less, make your own playlists that match with specific memories or people, you might seriously consider it’s high time you fell in love (again?), exceed speed limit (and potentially get a speeding fine too), contemplate what kind of illegal activity would suit you best and finally, come up with a cool nickname for your criminal alter-ego.