Baby Driver

The good-natured kid. The cute girl. The crime. The meet-cute. The car chase. The guns. The criminals. The escape. The notes. The rhythm. Director Edgar Wright wraps all these signature cinematic tropes into the car heist, action, romance, comedy film Baby Driver.

Wright builds an exuberant energy with the help of adrenaline pumping music. In Baby Driver, the music drives the film forward and becomes a language of its own, sometimes lingering softly in Baby’s ears or blasting uproariously in the hysteria of a heist, announcing its presence and demanding your attention. It compliments the scenes charmingly as a mood-crafter and carves out the atmosphere with vivid shadings. It provides its own comments on a scene or a character’s state of mind. Wright also cleverly synchronises the music with the action in a precise and meticulous manner, prompting the audience to groove along. Rarely do we see music in a film becomes a component so crucial that it dictates the editing and storytelling the way it does in Baby Driver.

Wright worked with cinematographer Bill Pope to heighten the tightness of the style. Every frame of this film feels so well put together and visually interesting, it’s mesmerizing to watch. The colour palette of the film is a vibrant and glorious exercise in primary colours. The camerawork is smooth and slick, sprinkling the film with visual devices that will delight audience.

Baby Driver is a joyous fun ride, pierced with sharp wit and thrilling on the road action. Wright’s sophisticated execution of his stylistic approach makes the film a truly arresting and unique experience.

(Originally posted on 16 Sep 2017 @projectunwrapped)