"The Driver" is a specialist in a rare business: he drives getaway cars in robberies. His exceptional talent prevented him from being caught yet. After another successful flight from the police, a self-assured detective makes it his primary goal to catch the Driver. He promises remission of punishment to a gang if they help to convict him in a set-up robbery. The Driver seeks help from "The Player" (Isabelle) to mislead the detective.Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
In the novelization there is a long segment with the young bank robber Fingers (Will Walker) who is shot; but he doesn't die. He goes home and is suffering and being helped by his girlfriend. Since Walter Hill had said that Cheryl Smith had deleted scenes, she most likely played that character. See more »
During the bank robbery, one of the men fires off a shot (you can see the recoil and casing flying through the air) but no sound is heard. See more »
How old are you? Twenty-two. I did a little checking.
What else did you check?
Well, a girl as young as yourself, you sure have been around the track a few times, honey. Led a real active life.
No. We're going to do a little business, you and I.
[shows her a photo of The Driver]
Look at it! Are you sure it's not him?
It's not him.
Oh, really? Maybe you should be afraid of me. I ran a make on you.
[...] See more »
Early UK cinema and video versions were cut by 18 seconds by the BBFC and completely removed the scene where Ronee Blakley has a gun forced into her mouth. This cut was waived in 2004. See more »
It's Such a Pretty World Today
Written by Dale Noe
Performed by Wynn Stewart
Heard in the Driver's first visit to his connection See more »
Entertaining while it lasts, but ultimately rather pointless.
Mean cop Bruce Dern on the trail of cool get-away driver Ryan O'Neal. Pretty good, as these things go.
Both O'Neal and side-kick Adjani are not overly taxed by their roles - each maintains a fixed facial expression throughout the entire film and their characters' dialogue consists largely of isolated words or, occasionally, sentences - but their performances are adequate. Dern's cop could have been similarly spare but somehow he manages to inject some interest - even humour - into a character a lesser actor would have rendered merely unpleasant.
On first viewing the plot seems fairly involved and almost believable. On second viewing, however, it is apparent that there is less here than meets the eye. Dern's 'rogue cop' tactics aren't really credible, the O'Neal character's motivation seems confused, and Adjani appears to be along just for the ride.
The film does have style, though. The car chases are fairly exciting - particularly a low-speed cat-and-mouse sequence in a large warehouse. Dern gives value for money, and Adjani is very pretty.
But at the closing credits the viewer is left thinking 'is that it?' As is so often the case with seventies 'cop movies' it all seems - to be blunt - rather empty and pointless.
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