Of all the movies I’ve recommended this year, Drive appears the most polarizing of the bunch. People either loved it or hated it. While it had an okay return box office-wise, the marketing was as mixed as the reception. You only have to look at a lawsuit levied against the film’s studio, FilmDistrict, by a woman who was disappointed it wasn’t Fast Five Redux.
But if you look at our coverage for the film, one that sticks out personally was how the film was being marketed at the Venice Film Festival and the UK with its posters versus in the United States.
While they all look good, none of them really nailed the film’s atmosphere. A hunky Ryan Gosling staring into the distance, and hot pink lettering did nothing but look to attract bored housewives.
However, make no mistake, Drive was damn cool. So what if there were moments of uncomfortable silences (see Pulp Fiction for further elucidation with Vincent Vega and Mia Wallace at Jack Rabbit Slims). So what if the soundtrack was infused with ’80s-inspired jams. Nicolas Winding Refn’s interpretation of Los Angeles is the best since Michael Mann, and one of the best neo-noirs in recent memory.
Sometimes you have to look outside of ad agencies to get a piece of artwork that fully encapsulates a film’s vibe. Which explains why our own Robert Saucedo is a glutton for specialized one-sheets. So many he doesn’t have enough walls to hang them all.
Courtesy of Singalnoise is a poster that gets Drive right. Take a look at it below, then compare it a couple of study samples and the original one-sheet for Michael Mann’s Thief.
Tags: Drive, Ryan Gosling