The Mala Noche Recommends: “The Driver,” One of the Smartest and Slickest Thrillers of the ‘70s

Written by: Miguel Torrellas

Few films are as deceptively simple as 1978’s “The Driver.” Made by the genre mastermind of Walter Hill at the height of his powers and a year before his box-office hit “The Warriors,” the movie is the perfect example of a story whose creator understands its functioning parts so well that he is able to do something remarkable with very little apparently at play.

There’s no fat to trim in this slick production, and that is precisely what separates it from most of the other thrillers of its era. The eponymous driver played by the criminally underrated Ryan O'Neal speaks only 350 words in the entire runtime. How great is that? This economy of dialogue gives the film a certain elegance and moodiness that one could only qualify as European. Nonetheless, O’Neal’s Driver is a distinctively American archetype, reminiscent of the western heroes echoed in the cowboy tunes that he plays in his transistor radio mixed together with the dread and impossible coolness of the Noir protagonist.

Opposite O’Neal is the great energy of Bruce Dern, whose “Detective” gives away the complete philosophy of the story when he says “You know what you do first thing every morning? Read the sports page. You know why? Best part of the newspaper. Winners, losers, how it happened, score. And we got a much better game than the one they give the players.” His enthusiasm for catching what he calls the “cowboy desperado” is the perfect tone to contrast his prey’s stoic nature.

It’s also worth mentioning the excellent work of the famous French Actress Isabelle Adjani in one of her first Hollywood productions. Credited as “The Player,” she is the force that saves O’Neal’s character and brings a mysterious world of new possibilities for him.

Despite of the fantastic work of the actors, the true stars of the show are obviously the chase sequences. From a gorgeous Ford Galaxie 500 to the wonderfully weird choice of a Chevy C10, the cars are precisely used and shot with an unparalleled level of care. Much like the rest of the movie, they are smart rather than flashy. The movements of the vehicles, while always exciting, highlight the cleverness of the artist behind the wheel rather than his appetite for mayhem and destruction.

This combination of detached acting and astute action was quite innovative during its time, and its influence can be found in several other works. Michael Mann’s outstanding debut “Thief” arrived in theaters a few years later and featured a similar use of neon-lights and chiaroscuro look to the crime-filled streets. The film’s approach to movement and speed is deeply implanted in 2017’s “Baby Driver,” with director Edgar Wright citing Hill as a major influence. Ultimately, Nicolas Winding Refn’s “Drive” owes to the most to “The Driver” for its stylish worldview and higher aspirations.

Hundreds of other filmmakers have tried to recreate its wonders, and the results have been considerably less successful or impactful. Hill’s film lies in the crossroads between auteur sensibilities and genre expectations and will continue to live on as the perfect marriage of smart and entertaining moviemaking.