With Doc and his cohorts, the sunglasses, jacket, and earbuds are like a uniform that shields Baby from this deadly business. The music ostensibly drowns out his tinnitus after a tragic car wreck, but that’s just an excuse for Baby to tune out everything until he finds something worth hearing.
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Lovebirds Buddy (Jon Hamm) and Darling (Eiza González) seem too engrossed in each other to care.īaby loves iPods – he has several – much like Star-Lord in the Guardians of the Galaxy series loves his Walkman and mix tapes for their connection to his mom and his childhood on Earth. Baby’s attitude reads as arrogant to some in Doc’s employ, like Griff (Jon Bernthal), and stupid to others like Bats (Jamie Foxx). But that enigmatic quality works well here. Elgort, a lead in 2014’s teen-cancer romance The Fault in Our Stars and a supporting player in the Divergent series, often seemed aloof to me, even as he aimed to be charming. Thanks to Wright and Ansel Elgort, who plays Baby, we learn plenty. The script is unabashedly of a certain cinematic lineage, but a retread it most definitely is not.
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For aspiring screenwriters in particular, Baby Driver represents a prime example of how to transcend your influences without disregarding altogether. Fortunately, the devil is in the details, and Edgar Wright adds just enough personality to make the old feel new again. Baby is a character we’ve all seen before in a type of story that’s hardly on the cutting edge of originality (assuming you’ve seen the aforementioned Drive, and the The Driver). What more do you need to know?” Doc says. “He’s a good kid and a devil behind the wheel. The crew recruited by Doc (Kevin Spacey) is impressed but doesn’t know what to think of this dude with the baby face and inscrutable stare. He’s fleeing the Atlanta cops after a heist in time to the Jon Spencer Blues Explosion’s “Bell Bottoms.” (Queen, Beck, Martha Reeves and the Vandellas, and R.E.M. The film introduces Baby – the alias that the protagonist uses – in his element, wearing earbuds and sunglasses behind the wheel of a red Subaru sedan we never knew was so maneuverable. He also just happens to have a hell of a playlist. But Wright invests us in a fully dimensional protagonist who telegraphs his personality largely through action and well-chosen words. It’s tempting to use music as a shorthand for characterization or to comment on the action.
Despite the idea’s origin, the music in Baby Driver feels organic and in service to the story. the World, The World’s End) knocked the film’s concept around for years, first using a music-loving getaway driver in a video for the British electronic duo Mint Royale. Writer-director Edgar Wright ( Shaun of the Dead, Hot Fuzz, Scott Pilgrim vs. There’s an effervescence to the storytelling that throbs through the music in nearly every scene, the youth of the protagonist, the fishtailing plot twists, and the exhilarating driving sequences.
We’ve seen these cool, laconic guys before, notably in 1978’s The Driver with Ryan O’Neal and 2011’s Drive with Ryan Gosling, cruising through their stories on ennui until something – usually a woman – snags their attention, if not their conscience. The archetype of the morally ambiguous getaway driver driven to care about something besides crime gets a fresh spin in Baby Driver, a hugely entertaining caper that mixes comedy, drama, and character through action.
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