(2013) Drama (A24) Tom Hardy. Starring the voices of Olivia Colman, Ruth Wilson, Andrew Scott, Ben Daniels, Tom Holland, Bill Milner, Danny Webb, Alice Lowe, Silas Carson, Lee Ross, Kristy Dillon. Directed by Steven Knight
As we drive from point A to point B, we are in our own insulated little world in our cars, surrounded by other people in their own little worlds. Do you ever wonder what dramas are taking place in those other vehicles, what life and death struggles are happening as our tiny little environments of steel and glass hurtle down the concrete ribbons in the night, each bound for its own private destination.
Ivan Locke (Hardy) is in one such car. He has knocked off of work at a construction site in Birmingham, England where he is the manager of a major project. The next morning is a big day on his job – the pouring of concrete to lay the foundation for the tower he is building. It is going to be one of the largest concrete pours in European history and things have to go just right.
Except Locke won’t be there. He has an errand of his own, a personal one. He is driving from Birmingham to London where a woman is waiting for him in a hospital bed. The woman is not his wife. Rather, his wife and two sons are preparing to watch the local football team in a crucial match. That’s football as in soccer, by the way. In any case, the boys are excited, mom has bought some sausages to grill up and has even finally consented to wear the team jersey that Ivan bought for her and has been nagging her to wear on game days. But Locke won’t be there either.
During the course of the night he will drive down British highways through varying degrees of rush hour traffic while talking on a hands free mobile phone built into the dashboard of his SUV. He will nursemaid his second in command through the necessary steps of preparing the construction site for the big pour. He will try to explain to his boss why he is acting the way he is, and the same to his wife while trying to at least maintain a veneer of normalcy for his sons. The longer the drive continues, the more that veneer cracks and threatens to fall apart.
This is not your usual sort of drama. Other than the opening scene in which we see other anonymous faceless construction workers leaving the job site, Hardy is the only person we ever see onscreen. He interacts with other actors on the phone, wispy spectral voices that question Ivan’s judgment and even his sanity.
Ivan Locke is a fastidious sort. Respected in his profession, a solid family man, he nevertheless has made a crucial error in his personal life and is now trying to make it right. In his mind at least he’s doing the right thing – viewers may disagree, but Ivan Locke, once his mind is made up, never wavers in his course. It separates him from his father, whom Ivan addresses in the car from time to time even though dear old dad, an alcoholic who abandoned his family, has been dead for some time. Ivan has never forgiven him however; he would love to dig up dear old dad just to desecrate his bones.
Hardy is best known for playing the masked terrorist Bane in The Dark Knight Rises. There he is behind a mask with his voice electronically modulated but still Bane is perhaps the best thing about the movie. Here, Hardy shows just how good an actor he is, something that those who saw Bronson already knew. While his ascendance to Hollywood stardom has left him with some fluffy roles as of late, he certainly has plenty of chops to carry this through.
And he does. We see Ivan’s facade slowly crumble. While his voice is even and calm with a Welsh accent adding color to the part, we see in Hardy’s eyes the depth of frustration and doubt that assaults him. Ivan Locke knows what he is doing will have consequences that will be bitter, but even so he insists on trying to apply logic and practicality to a situation that he is painfully unequipped to handle because one thing Ivan Locke doesn’t understand is human emotion. So he drives through the night, downing cold medicine and blowing his nose. This isn’t just business for its own sake as other critics have intimated; Hardy actually had a cold during filming so his illness was written into the script.
When his wife wails “You love your buildings more than me,” she isn’t far from the truth. Ivan waxes rhapsodic about concrete, of stealing a part of the sky for this new tower. When asked why he is doing it, he says “I’m doing it for my building. I’m doing it for the concrete.” Locke, whose childhood was apparently full of instability, relishes the permanence of a well-laid foundation.
This might sound like a boring picture but thanks to some clever cinematography and on the basis of Hardy’s searing performance it is anything but. My wife and I were immersed in the film from beginning to end. Some may look at the manner of storytelling as a gimmick and I have to admit that in most hands it certainly would have turned out that way. Here however thanks to the elements I mentioned the gimmick works and how often can you say that truly?
REASONS TO GO: Mesmerizing performance by Hardy. Compelling story and clever concept.
REASONS TO STAY: Some might find it gimmicky.
FAMILY VALUES: The language can get pretty raw. The themes are a little bit on the adult side.
TRIVIAL PURSUIT: Tom Hardy filmed his role in six days. The other actors were all in a hotel room and read their lines over the phone to Hardy.
CRITICAL MASS: As of 5/23/14: Rotten Tomatoes: 88% positive reviews. Metacritic: 82/100.
COMPARISON SHOPPING: Margin Call
FINAL RATING: 7.5/10