“Baby Driver” is a film from 2017 directed by Edgar Wright. This movie has been received positively by many people. Having a rating of 7.5 out of 10 from fans and a Metacritic score of 85% according to IMDB (IMDB, 2017). Which resulted in 3 Oscar nominations and earning 226,945,087 dollars worldwide, compensating well over their budget of 34 Million (Box Office Mojo, n.d.). This film deals with the genres of caper, car action, action, crime, drama and music. This movie is an expert class on setting location, style and themes of its film just from its opening action scene; while simultaneously creating interest from its mise en scène.
The opening scene starts with an establishing ground perspective shot of a bank, as the wheel of a car fully covers the shot. Then there is a cut to a shot of an iPod with some headphones plugged in with the song BellBottoms by The Jon Spencer Blues Explosion which starts playing for the scene. This song is utilized in the entirety of this opening scene. The song is used with deliberate care in the movie, as the beginning of the song is used to raise tension with a choir of electric guitars and rising strings as the crew for the heist gets ready to infiltrate the bank. While making fast and rhythmic cuts in beat with the rhythm throughout the scene, the characters move according to the beat and Baby’s obsession with music. This also gives this movie an identity as the “Songs in Baby Driver functions as more than mere soundtrack; like a music video, the film was written around the music so that the soundtrack would tell the story. Many times throughout the film, the songs describe the action on the screen or the film’s action sequences are choreographed to play along with the music.” (Bowen,2022)
This action opening scene can be different from others as the amount of violence is minimal. The only times when violence is utilized in this scene is when the three heist crew members enter the bank and threaten bank staff with their guns. While every other part of the action heavily relies on Baby’s ability to drive, trying to cause the least amount of damage as possible. This was done deliberately as a subtle foreshadowing of Baby’s reluctance against violence that is explored in the movie. He is shown to use violence scarcely as he only sees it as a means to survival not for fun. At the same time, his crew members enjoyed using violence and were perfectly fine using it as a form of self-expression. It perfectly shows one of the themes of the movie. Another way the film shows this contrast between Baby and his fellow criminals is by their attire. Baby uses casual, comfortable clothes during this scene to show that he is non-threatening and simple, underscoring his desire to blend into the background and sense of detachment from the crime world he inhabits. While his fellow members utilize dark suits designed to intimidate, communicate power, and signify their readiness to engage in whatever violence the job requires. Additionally, this election of clothes helps portray one of the genres of the movie, the gangster genre. Such as “character archetypes such as the getaway driver, the crime boss, and a small army of thieves and thugs. Much of the iconography utilized by the film conforms to that found in more traditional gangster films: loud cars, gunfire, stacks of cash, and excessive violence.” (King, 2018).
Finally, this scene implements various techniques with the camera work. The camera work in the film is very dynamic and fast. In total, there were about 224 shots over the 5 minutes and 36 seconds, with the longest shot during the chase scene being only six seconds long and the shortest being four frames long. The speed and intervals between shots work perfectly as it is meant to be taken more as a montage and spectacle utilizing the music rather than a real-life time chase scene. The camera work throughout the action is very genius. The camera shifts between outside and inside the escape car. The shots inside the vehicle and the character acting inside the car queue the viewer about what is happening outside the vehicle. Additionally, there is a lack of shots of the police cars, as they only have about 25 shots, to give more of a focus on Baby. But hints to the viewer about the chase by showing a flash of siren lights on the mirror and glares from the escape car. The geography and choreography expand the thrill on screen while maintaining the style of the action happening in the film. Thus, this scene “derives much of their effect both from the utilization of spectacle and from the interplay of genre” (Dubois 2021).
In conclusion, the opening scene of Baby Driver serves as a brilliant introduction to the film’s unique blend of music, action, and character dynamics. Edgar Wright masterfully uses the soundtrack to guide the pacing and intensity of the scene, making the music not just a backdrop but an essential narrative element. The minimal use of violence highlights Baby’s internal struggle, contrasting with the aggressive behaviour of his criminal associates, and setting the stage for the film’s exploration of morality and identity. Through careful attention to attire, camera work, and choreography, Wright establishes the film’s stylistic and thematic foundation, drawing on genre conventions while making them feel fresh and dynamic. Baby Driver is a cinematic experience where music and action merge seamlessly, creating an unforgettable and highly stylized portrayal of crime, character, and escape.
Bibliography:
Bowen, Kate. 2022. “‘Was He Slow?’: The Performance of Masculinity in Edgar Wright’s Action Musical Baby Driver.” Journal of Asia-Pacific Pop Culture 7 (1): 72–84. https://muse.jhu.edu/article/857653.
Box Office Mojo. n.d. “Baby Driver.” Box Office Mojo. https://www.boxofficemojo.com/title/tt3890160/?ref_=bo_tt_tab#tabs.
Dubois, Derek. 2021. “Cruising the Hyper-Real Highway: Edgar Wright’s Baby Driver.” Journal of Film and Video 73 (1): 48–58. https://muse.jhu.edu/article/781775.
IMDB. 2017. “Baby Driver.” IMDb. June 28, 2017. https://www.imdb.com/title/tt3890160/?ref_=ttcrv_ov.
King, Claire Sisco. “Introduction.” QED: A Journal in GLBTQ Worldmaking 5, no. 2 (June 1, 2018): 53–57. doi:10.14321/qed.5.2.0053.
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