![]() ![]() On the one hand, Baby needs sound and music to relate to just about everything whether it’s remixing conversations he’s recorded or getting a beat from ambient noise. He’s showing us something that’s both beautiful and tragic about his protagonist. If you even like music, you know how Baby relates to the world even if it’s not to his extreme or his profession.īy using music as a way to tell us about character and emotions, Wright isn’t simply doing cool stuff with the soundtrack (although what he accomplish is certainly spectacular in more ways than one). We don’t know what it’s like to be able to drive like Baby (and the car stunts in this movie are some of the best ever committed to film) or rob banks (if you are someone who regularly robs banks, please stop), but we know what it’s like to move to the rhythm of a song even if we don’t have buds constantly in our ears and a collection of iPods with all of our mixes. For Baby, music is everywhere because it has to be it’s the only thing separating him, a morally conflicted wheelman, from the thugs he transports from job to job. It’s not just how Baby perceives the world it’s how he protects himself. ![]() ![]() But in Wright’s hands, the music isn’t window-dressing it’s the point. It could have easily been reduced to nothing more than “I like these songs what if the movie was to the beat of these songs.” From there, it would feel increasingly forced as Baby cycles through tracks picking the right number to go along with the chase or the shootout. What defines Baby Driver more than anything is the use of sound and music, and in the hands of a lesser storytelling, it would be nothing more than a gimmick. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |