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Take a look at the movie "Driving"; The story of postmodern cinema samurai

BingMag.com <b>Take</b> a <b>look</b> at the <b>movie</b> 'Driving'; The <b>story</b> of <b>postmodern</b> <b>cinema</b> samurai

The movie "Driving" by Nicholas Winding Raffen is the crossroads of samurai existential films with high-level crime films. "Driving" is influenced by Jean-Pierre Melville's minimal crime films, especially the samurai film (which itself is influenced by the archetype of the wandering fighters or, to put it bluntly, Japanese cinema).

And depicts angels as the property of a cunning individual; A person who is both a seller of second-hand cars and the owner of a pizzeria in a strip club. In other words, "Driving" is supposedly made by Michael Mann in the style of Sijon Suzuki (Japanese director).

  • 5 Ryan Gosling thriller action movies Ryan Gosling's overnight arrival begins at his daily workplace (a car repair garage on Rasa Boulevard). Gosling, an anonymous driver, stands at the entrance to the garage in front of the reflection of his own image on the windshield of a Muscle car, taking off his gloves. Shannon (Brian Cranston), his boss, gets up from the hood of the car to give him a nighttime escape car. He tells him that he has boosted the car engine with a 300 hp engine. The following is a breathtaking robbery on the streets of Los Angeles. The catchy sequence at the beginning of the film introduces the audience to a process of empathy and firmly establishes the rules of the film genre. In the opening scene of the film, the driver standing by a lamp in his apartment knows very well how the story will unfold tonight. In fact, he knows that everything will go according to his plan, which will include stealing and playing the Clippers basketball game, and eventually leaving them in the middle of the spectator crowd leaving the stadium. Leaving the stadium, the view from inside the car and the front window is cut, and the sound of music with a heartbeat-like beat dominates the images of the streets of Los Angeles.

    BingMag.com <b>Take</b> a <b>look</b> at the <b>movie</b> 'Driving'; The <b>story</b> of <b>postmodern</b> <b>cinema</b> samurai

    Rafen minimizes the subplots in the story and at the same time pays homage to the genre in the highest possible way. Hence, his film represents the height of postmodernism. He effectively refines and redefines a story that has already been told (for example, a story told in works such as "The Driver" by Walter Hill, "The Thief" by Michael Mann, or "Ghost Dog" by Jim Jarmusch).

    samurai film. But this 2011 work is a testament to the fact that religion in cinema has itself become a subgenre. The opening scene of the film acts as the prequel to the samurai film, in which the main character of the film, Jeff, played by Alan Delon, emerges from a dignified-looking club with a Fedora hat and a French coat. When he leaves, as a result of violating his moral principles, the pianist (played by Katie Rosier) sees the samurai in the story. However, he does not leave evidence as usual. But the musician's silence with Jeff ends in the formation of a hidden emotion.

    BingMag.com <b>Take</b> a <b>look</b> at the <b>movie</b> 'Driving'; The <b>story</b> of <b>postmodern</b> <b>cinema</b> samurai

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    Have you heard the story of the scorpion and the frog? The question that the anonymous character Gosling asks his opponent Bernie, played by Albert Brooks. Kerry Mulligan plays Irene. A girl who is married to Standard Gabriel, played by Oscar Isaac. Gabriel, who is about to be released from prison, owes a lot of money to false sources and, like our anonymous hero, seeks forgiveness and repentance. After telling this romantic story, we find out everything the driver's character wants. For many reasons (the most important of which is self-loathing) our hero's character is not able to express emotions out loud, although much of that emotion can still be seen in his face. The sense of need for fascination and passion that can be seen in Gosling's sad eyes and eyes. Where the key is the difference between Gosling and Delon's role as Jeff in The Samurai.

    An emotional connection develops between the driver and Irene and her son. A connection that leads the driver to a sense of self-loathing toward a sense of being a real human being again; What resonates with us is Jeff's sense of care and concern for the pianist. After a long time, a sympathetic stare reminds this regular character of an archetype that he does not always need to feel bad. Subsequently, breaking his own personal rules of the underworld by himself leads our hero to accept a job that results in the death of the prince on the maiden horse (referring to the death of Irene's husband in the theft sequence).

    Jeff's death in "The Samurai", which is depicted with many allusions to the samurai Harakiri, and the route that Melville devised for his mythical hero, and then its convergence with the film. Driving We can find the cinematic ratio of Sijon Suzuki (Japanese filmmaker) with a scorpion design on a gosling jacket throughout the film. The protagonists of Suzuki's stories (often criminals or former police officers) always catch the lady's attention after meeting her and defending her against evil people, creating a fairy-tale king.

    Suzuki in the film The Tokyo Drifter uses mythological symbols and archetypes in favor of an abstract artistic look (something Melville does more subtly in his films), and this institutionalizes a redefinition of genre situations and motifs in the film. Like staring at a train reminiscent of classic cowboy images. Due to the use of various expressive elements such as the effective use of colors that Suzuki makes in his films, the story of the gangster king and fairy tale owes the film "Driving" to the film "Tokyo Drifter".

    BingMag.com <b>Take</b> a <b>look</b> at the <b>movie</b> 'Driving'; The <b>story</b> of <b>postmodern</b> <b>cinema</b> samurai

    The sad theme of this Winding Raffle legend is well illustrated by Michael Mann's dinner monologue. In the scene where Frank (James Kahn), the main character of the movie Thief, addresses a girl on the dinner table who is emotionally involved, he says: "You don't care at all whether you are alive or dead. You want to go where nothing is literally nothing. I'm telling you a story that is all about it, and </"

    he tells his maiden half-life story and how he was saved:" I do not care about myself. I do not care about anything. I know this. "Because I've had such a mental attitude since the day I was rescued." Gosling's driving personality has a similar attitude. A character who is a stuntman during the day and a street samurai at night. The only driver whose existence is summed up in street nightmares. A driver who transports low-level offenders overnight. We see that in the only scene that is related to his daily profession, he signs papers and takes responsibility for his death or whatever happens to him on the film scene. There is certainly a story behind such a selfish life, but Rafen is not interested in defining it.

    BingMag.com <b>Take</b> a <b>look</b> at the <b>movie</b> 'Driving'; The <b>story</b> of <b>postmodern</b> <b>cinema</b> samurai

    "Driving" is probably the director's most beloved film because of its emotional originality. A story about the failure and disappointment of someone you fell in love with and, of course, your subsequent retreat into a forest. The reason such samurai live by their laws and mysteries is because of the deep pain the world has inflicted on them.

    They feel remorse and responsibility. They are unwavering in their self-sacrifice and give up all their desires for self-improvement. Honestly portraying this vulnerability as it is is what makes Raffen film special. Gosling's cool face and his discipline, which is considered very important, help to reveal the beauties of this genre and show how such myths are led to masochism. The scorpion sting comes out when the lights flicker in the elevator. A fantasy takes shape, the maiden is in danger of being attacked, and our knight crushes the brain of the man in the elevator. Fear overshadows the sense of protection and care, and we find out why our hero is wearing a costume with a scorpion pattern on the back. He thinks he is a monster bigger than he deserves to have a special person in his life. Such a legend that the driver represents well introduces him. The samurai film's artistic atmosphere also has a similar function.


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