In rolling out the “Locke” by British writer-director Stephen Knight, in which Tom Hardy half hour drives the car. Stanislav Zel’venskii trip satisfied.
Hard Day’s Night, Birmingham, a huge construction site. Man in helmet and overalls, pereobuvshis, sits behind the wheel of BMW and travels on the highway. This Ivan Locke (Tom Hardy), head of construction, tired, bearded man with a runny nose. He goes to London – and an hour with a small film that lasts, the camera will hold inside the car, looking at the driver’s face and occasionally glancing at the road.
All the while talking on the phone Locke handsfree and circumstances Trip gradually appeared. Early in the morning at a construction site, which he oversees, to be laying concrete – a big, apparently event. Locke’s wife meanwhile home fries sausages, as they planned a family with sons football match. But Locke will not be able to follow the concrete and can not eat hot dogs, because he was going to London. And he goes there because some forty years secretary, with whom he had either drunk, or out of pity once slept on a business trip, it has a chance tonight to give birth.
Story writing “Locke”
Come up with an interesting film about the superintendent, who discusses the phone pouring concrete – more like a bet than an artistic challenge, and “Locke” – not the first picture in the frame where all the way to one actor and one decoration, but the charm of this project is that he did not boast of his nifty concept. Actually, no vision and no – “Locke” no pressure from claustrophobia as a movie about Ryan Reynolds in a coffin or James Franco with a jammed foot, not giddy agoraphobia as “Do not be put out hope” will not ship symbolism as “Gravity” and just beyond the frame makes all unnecessary. Remains a hero, highway and flashing lights. Rides and rides: it seems that it happened by itself, and the other person in this story do not really need.
Perhaps here, too, formed a symbolic formation – a lonely man in the night the stream of cars and stuff – but Stephen Knight, screenwriter “Dirty Pretty Things” and “Eastern Promises”, which debuted last year in directing undervalued seems “Effect hummingbird” , has always been able to drown pathos in concrete, if anything, domestic details. Locke for his skyscraper – at least a significant part of life than the family (a wife suspects that and more important), and if an unfortunate situation develops adultery, in general, fairly predictable manner, the hysterical calls from work generates genuine suspense. Boss goes crazy bosses boss in Chicago and toss tear, the folder is not in place, the police can not close the road for trucks, people, solving problems, went to dinner, assistant who Lok left himself a replacement, leans on cider.
Character that Knight, first sketched, draws more and more bold lines – infinitely attractive and at the same time a little frightening. Locke, what is called, solid man. Decided – did he measured – snapped. And Tom Hardy with his acting ambivalence, the ability to be both a puppy and a monster, your character exactly distinguishes a microscopic dose of the enormity that it can be seen only in the corner of his eye. Clearly, this is a story about a real man – but also recognize that the way of the Locke not getting any better. Perhaps, the only major drawback of the film – typical to find an easy search on part of sentimentality can not see – that all he had spoken out loud in conversation with the ghost of the hero of the prodigal father. It’s not even the artificiality of this technique, but in the desire certainly motivate decency childhood trauma from which the rod some higher scenic courses.
However, this does not negate the beauty of the situation. Almost in real time we observe how orderly world control freak-broken because of some nonsense into small pieces, immersed in the most hated – chaos. And – here it is, the power of cinema – where life would have won schadenfreude here wins sympathy.
"Locke" with Tom Hardy: Man of concrete
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