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A Game…A Challenge…A Chase to the Death!

January 9, 2012

The Driver (1978)

Tuesday, January 10th

Film starts at 9pm

Otto’s Shrunken Head

538 East 14st (between Ave A & B)

As always, free popcorn and $2 Vehicular Bingo for prizes!

He’ll get you away faster than anyone else on wheels.

I recently saw Nicholas Winding Refn’s new film, Drive (2011), and I absolutely love it. I’ve seen it twice, read the novella and plan on seeing it again! A great film in it’s own right, it also brilliantly pays homage to the great chase films of the 70’s. There are shots, pacing and references relating directly to a handful of these movies, but the one that stands out most is by far, The Driver (1978).

That’s him. Same goddamn stunt he pulled six weeks ago.

Needless to say, The Driver has been on my mind, and after missing seing it screened at MOMA in November, I thought it only fitting to add it to this month’s screening schedule. A great crime film, one of the best chased scenes, and hell, even Quentin Tarantino lists The Driver as “one of the coolest movies ever made.”

See you at the flicks!

– Corinna

How ‘bout the rest of you. Guide dogs for everyone, huh?

This week’s review comes to us courtesy of MOMA:

The Driver (1978). USA. Written and directed by Walter Hill. With Ryan O’Neal, Bruce Dern, Isabelle Adjani. On November 5, screenwriter and director Walter Hill presents The Driver, an exquisite study of stripped-down existentialism whose thrilling car chases are unsurpassed in their stylized abstraction. As if through a dizzying hall of mirrors, The Driver was the direct inspiration for Nicolas Winding Refn’s Drive, but in turn took its own inspiration from French crime films of the 1950s and 1960s—most notably, Robert Bresson’s Pickpocket and Jean-Pierre Melville’s Le Samourai—that themselves paid homage both to American film noir of the 1940s, and the taut, tense classicism of Howard Hawks and Raoul Walsh.

Well, well, well. Look what the old van drug in

(The philosopher Slavoj Zizek has called this “a paradox of America looking at itself through French eyes.”) One of the finest practitioners and manipulators of genre in such films as Hard Times, Southern Comfort, The Warriors, Streets of Fire, 48 Hours and, more recently, Last Man Standing and Wild Bill—not to mention The Getaway and Aliens, for which he wrote the screenplays—Hill has observed that “We’re all standing on each other’s shoulders. We only tell stories that are in a sense twice-told tales, but we try to find new ways to tell them.”

You sure have been around the track a few times, honey.

Preserved by Twentieth Century Fox. 91 min.  – MOMA

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