George Lucas is naturally best-renowned for the impact that Star Wars had on the film industry back in 1977, but thats ignoring the pioneering use of source music in his earlier film American Graffiti– the end-to-end parade of rock and roll songs played on the radio formed an evocative and groundbreaking soundtrack/soundscape through the film that revolutionised the subsequent use of source music in film-making.
So I found myself thinking of American Graffiti whilst watching Edgar Wright’s Baby Driver. The use of source music -updated from radio airplay to ipod/smartphone mp3 streaming, naturally- is as integral a part of what Baby Driver ‘is’ as much as the music was in Graffiti. Indeed, what gives Baby Driver its own identity is that its taken it one step further, with the performances and editing timed specifically to the beats of that infectious soundtrack of songs. In some ways it seems almost a much a musical as, say, La La Land.
So whilst it owes so much to a film from decades past it also comes across as being refreshingly original, and excitingly new. Perhaps it’s just a natural progression of how source music has become such an integral part of film over the years since Graffiti, particularly in how some sequences in films often seem to be pop videos in how they are shot , edited and soundtracked with pop songs. The clever conceit of Baby Driver is in how the central character needs the songs in order to function as the titular driver of the film, his skill for driving and spectacular stunts behind the wheel wholly dependant on the flow and beat of whatever he is listening to. Its almost genius in its execution.
The fact that there is actually an involving and thrilling film independent of those frenetic chases is the biggest and most welcome surprise of the film. Indeed, the actual screen time of those car chases is surprisingly small regards the whole.
Alden Ehrenreich must offer something pretty special as Disney’s new Han Solo in his year’s Star Wars anthology movie, because Baby Driver is surely Ansel Elgort’s 2-hour statement for being the best young Solo that we’ll never see. He offers a vulnerability and charm that so often brings to mind a young Harrison Ford/Han Solo that its almost irresistible- intensified perhaps by his costume design in this film, practically wearing Solo’s Star Wars wardrobe like some cosplay nut. No doubt this was a deliberate ploy by Edgar Wright, Baby so obviously evoking the Han Solo look and the sense that Baby and his cars is like Solo and his Millenium Falcon. I recall back in 1977 the sense that the Falcon was like a hotrod in the stars- a novel thing back then so pedantic now. Wright must have been so aware of that when writing/shooting this film.
Isn’t it weird to be referencing old George Lucas films so much when discussing this film? It’s almost as if this film is a love-letter to Lucas, and makes me sadly reflect on how great a film-maker the 1970s George Lucas was (lets not forget the ingenious sound design of THX 1138 or the fact that the 1970s Lucas also cemented the Star Wars saga making The Empire Strikes Back and the creation of the matinee-throwback heroics of Raiders of the Lost Ark).
Is Baby Driver the last hurrah for Kevin Spacey in a mainstream Hollywood movie? I suppose only time will tell but this film is a welcome reminder of how great he is as an onscreen bastard (his offscreen credentials in that regard seems to have nixed his future career somewhat). His charisma and coldness here forms a fulcrum for the film; so much seems to revolve around him and he is so convincing it makes me a little sad that we will lose some great future performances/films re: his probable absence from film-making in future. That’s purely a selfish consideration as a fan of film though rather than any moral judgement on what the actor himself deserves- we’ll just have to see how all that plays out in future.
So soon after enjoying her performance in Cinderella, Lily James appears here as Baby’s love-interest, the charming if rather under-written Deborah. At least the two actors share some convincing screen chemistry, the lovestruck youngsters evoking a clean cut version of True Romance‘s Clarence and Alabama (Christian Slater and Patricia Arquette). Who would have thought when watching Downtown Abbey that she, in particular, would be the performer whose star would subsequently rise in film?
Anyway, Baby Driver was a surprising blast- great to look at and listen to and a pleasure beyond its car chases and stunts. The clever conceit and importance of its music was exciting and at least felt original and new, which can’t be underestimated in this era of ‘me-too’ cgi blockbusters and superhero flicks. And while I’d love to see where Wright could take the characters and that conceit with a Baby Driver 2, it’s so nice that the film feels so self-contained and wrapped-up, a new film that feels wholly of its own that doesn’t depend upon or tease a sequel or franchise.