There aren’t many moments in cinema where you start to watch the opening scene and an uncontrollable giddy smile engulfs your face, such is the joy of what is unfolding on the screen. It needs to be a brilliant idea, executed to perfection and in a language that speaks to you.
Baby Driver, Edgar Wright’s latest cinematic masterpiece, achieves just that. But the moment I knew it was a truly great film was when I realised the credits were rolling and my smile hadn’t left.
The titular Baby is played by the young Ansel Elgort, who many will recognise as Caleb Prior from the Divergent film series. Baby is a young man who suffers with tinnitus, a whistling hum in the ear, which he got from an initially mysterious childhood incident. He works as a getaway driver for a heist masterminder named Doc (Kevin Spacey), who counts amongst his rotating team of goons a highly-strung Bats (Jamie Foxx), passionate love birds Buddy (John Hamm) and Darling (Eiza González), Griff (Jon Bernthal) and Eddy No-Nose (Flea). Lily James also stars as a waitress named Deborah.
To drown out the noise, Baby has a series of iPods to suit his moods. These are essentially soundtracking his life with a mixture of classic tunes that also serve as the soundtrack to the film, from Beck to Sam and Dave, The Commodores to The Damned.
It is these playlists that also serve as the film’s soundtrack, with sounds and visuals perfectly in sync with one another. For fans of music, and in particular soundtracks, Baby Driver is an absolute dream. The music is the backbone, catalyst and cherry on the icing, all at the same time. It’s a remarkable achievement.
If the opening sequence seems familiar, Wright used the same scenario in 2003 for the music video he directed for the track ‘Blue Song’ by Mint Royale. This hit the music airwaves mere months prior to his directorial breakthrough Shaun of the Dead, but watching it now you can see he probably had the idea for Baby Driver in his head as a starting point.
One of the best examples of how perfectly it works comes during the opening credits, when the first job has been completed and Baby goes to pick up some coffee from a shop near to their hideout. As Bob and Earl’s ‘Harlem Shuffle’ is played through his earbuds and the backdrop becomes subtly flourished with graffiti, shop names and visual signposts, it was clear that something special was unfolding before my eyes. That this was done as a one-shot makes it all the more beautiful.
The film goes far and beyond being just a glorified music video. The car chases are breathtaking from the get-go, and there’s no let up as the story progresses. They’re believable and easy to follow, with no cheap cuts to hide poor editing and hide continuity – something of an epidemic in cinema in the 21st century.
Many of the actors are a little out of their familiarity zones with their characters, but it’s obvious that the likes of John Hamm and Jamie Foxx are taking great pleasure in being allowed to indulge their acting abilities. Kevin Spacey may be on more familiar ground, but it doesn’t make for poor viewing in the slightest.
There’s a great use of the song ‘Debra’ by Beck in a scene that cements Baby’s relationship with Lily James’s waitress. They’re both stuck in a rut and in need of a route out, so their inevitable desire to be together is an expected story arc. Only Edgar Wright would, at this point, think it was a good time to drop in a song about a man wanting to have a threesome with two sisters. It’s a hilariously sweet moment that comes just at the right time in the film, softening up the audience before the rollercoaster second half of the story.
The fact that Elgart spends the opening thirty minutes dressed in an outfit that is very reminiscent of Han Solo shouldn’t be overlooked either. Elgart came close to being cast in Disney’s upcoming problematic Han Solo standalone film, before being overlooked in favour of Alden Ehrenreich. It’s clear that the coolness of Harrison Ford’s character is something Wright was trying to remind the audience of. However, Wright recently denied the connection in a Twitter Q&A, saying that the similarity was purely coincidental.
I just can’t be effusive of the film enough. It’s something I could watch time and time again and I’m certain I’ll be getting enjoyment out of it for years to come.
Baby Driver could well be the greatest film of Wright’s illustrious career. If you’ve not been taking notice yet, now’s the time.