Which do you prefer and why?
Walter Hill´s The Driver or Nicolas Windig Refn´s Drive?
I find it interesting that so few realise the similarities between these two films. James Sallis was clearly inspired by Walter Hill's The Driver when he wrote the book and then it was turned into a movie, so you could almost say, that Drive is an unofficial remake of The Driver.
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
I agree. When I saw the trailer for Drive, I assumed it was a remake of The Driver. Watched the new film last night, and still think they are closer than a lot of "official" remakes.
I think Drive was good, but over-hyped. I prefer The Driver.
me too, i am surprised more people have not mentions the similarities between the two films.
I actually think it's close enough that it infringes on copyright. But I'm no lawyer...
shareThe Driver is obviously an inspiration for the book and the movie...So much so that the entire sequences seemed to be lifted from Walter Hill's classic. I prefer The Driver. It's a much better movie, with better acting, better action and no pretenses of being a high art...
However, The Driver obviously is obscure enough since Drive is being praised as the best action picture the likes of which never graced movie screens before..
Just go on over to Drive IMDB thread and witness ignorance on a large scale...
http://www.youtube.com/user/viclis11?feature=mhee
I've seen both movies and yes, Drive could be an unofficial remake of The driver. But there are enough differences (The driver is an urban western, not Drive, lots of violence in Drive, not in The driver, the music, the style, the Golsling's acting, VERY similar to Ryan O' Neal's, not surprising because I've read that Nicolas Winding Refn has shown the movie to Ryan and asked him to act like Ryan. I enjoy both movies, but recently I've given my The driver DVD to a friend who loved Drive, just to know what he thought about the similarities between those two movies. I can't wait to hear what he's got to say about it!
The truth is the truth hurts
Don't you agree?
The Driver still gets it. Drive is more character-led, whilst the cars and the chases are the stars in The Driver. Oblivious of this discussion I watched both films back-to-back, starting with Drive.
(Obviously) sound and music tracks are better on Refn's but it's 33 years newer. I think that that's a fair gap in which to have two similar movies and not to need to compare them too closely. Drive is also much more violent.
Drive failed to deliver on the driving aspects...big time. I did not really enjoy all the autistic social awkwardness either.
The Driver wins by miles. Deserves a remake even, if anyone dares to drive like that still. Fast and Furious is just laffable in comparison even.
The Escape from Limbo, Inception ending.
http://www.youtube.com/watch?v=a5R3_ToFRGg
Deserves a remake even, if anyone dares to drive like that still.
I watched The Driver because I loved Drive. There were obviously similarities but Drive is sooo much better. It must be the fact I was born in 1987, but I just hate old action movies. The only old movies I like are dramas. Anything else, it's just obvious how far movies have come since then, cos I find everything so poorly done.
shareI like how everyone's discussing how Drive was influenced by The Driver, while failing to realize that The Driver wasn't very original to begin with- Walter Hill was clearly inspired by Jean-Pierre Melville's Le Samouraï.
shareAside from the meticulous and mostly silent lead I fail to see much similarity.
With Melville's film that is. Not Drive. Which this picture clearly inspired.
As others have already pointed out Drive is a knock off of the original material with a few variations that keep it from being an unnecessary movie.
So which films have a police officer determined to bring the silent lead in and a female witness to the protagonist's crimes?
shareDrive is a relatively lame knock-off of The Driver (as well as any urban crime/action film by Mann and Friedkin and probably many others), which is said to succeed merely because it doesn´t fail completely. Its driving scenes are inferior, the soundtrack is cheesy and it lacks the humor and wit of Hill´s film which it replaces with some sappy sentimentality which in turn is completely out of whack with some instances of particularly sadistic violence. And last, but not least - its leading tough guy hero looks like he should be dancing around in a boy band with his cute, dopey puppy dog face and not pretending to be kicking ass in an action movie. I mean, who are they gonna cast next as a heavy? Justin Bieber?
"facts are stupid things" - Ronald Reagan
[deleted]
Le Samouraï > Drive > Dog feces > The Driver
shareWhat's wrong buddy, does it worry you that Ryan Gosling gives you butterflies in your tummy?
shareThe Driver is a relatively lame knock-off of Le Samouraï, which is said to succeed because the few people who've seen it think it's a completely original tale. Its characters are inferior, the events of the film are stupid, and it lacks the irony and ambiguity of Melville's film which it replaces with sappy and implausible happy ending. And last, but not least - its lead is none other than Ryan "OH MAN OH GOD" O'Neal. Get somebody with talent next time.
shareThat's three...THREE times you puffed out your feathers to let everyone here know you made it all the way through a non-English speaking film you intellectual gimp.
"...if that was off, I'd be whoopin' your ass up and down this street." ~ an irate Tarantino
Way to completely misinterpret my posts. I never even said Le Samouraï was a non-English film.
I'm pointing out the irony of all these people calling Drive a knock-off of The Driver, while not realizing that The Driver is a knock-off of Le Samouraï.
You have the mental aptitude of a floor mat. "Misinterpreting" your posts is akin to demolishing a toddler's sand castle.
I'm pointing out the irony of all these people calling Drive a knock-off of The Driver, while not realizing that The Driver is a knock-off of Le Samouraï.
Sorry, psychological projection doesn't work on me. I never said Le Samouraï was a non-English film, but you tried to claim I was letting everyone know I made it through a foreign film.
The Driver is a complete failure. Le Samouraï does not merge well with elements from American action pictures. Instead of minimal sound effects and dialogue, we get loud car chases. Instead of a morally ambiguous protagonist, we get a corrupt police officer to make certain the audience sides with the main character. Instead of having an unexpected ending, The Driver concludes with our hero getting away. And this is why The Driver has mostly been forgotten.
Sorry, psychological projection doesn't work on me.
I never said Le Samouraï was a non-English film, but you tried to claim I was letting everyone know I made it through a foreign film.
Le Samouraï does not merge well with elements from American action pictures.
Instead of minimal sound effects and dialogue
we get a corrupt police officer to make certain the audience sides with the main character.
And this is why The Driver has mostly been forgotten.
You're obviously impervious to anything "psychologically"-related.
Le Samourai doesn't require your "stamp of foreign authenticity"; it just is. Had you replied once, this wouldn't be an issue; however, you saw need to repeat the same "point" not once, but TWICE. You were clearly having a wank and trumpeting your sophisticated viewing palette.
Spoken like somebody totally clueless when it comes to Le Samourai's origins and Melville's influences. He was obsessed with American art (he adopted the name "Melville"), especially films and in particular gangster movies. His stylish, elegant crime thrillers are pastiches and reworkings of the stuff that most inspired him as a filmmaker. He subverted and homaged them to create something utterly unique that redefined the genre. Melville is to the American gangster film what Leone is to the American western. Le Samourai isn't the beacon of originality that you make it out to be; This Gun for Hire is its blueprint, from the laconic, amoral hitman right down to Ladd's wardrobe.
Le Samourai has little dialogue; in fact, not a word is spoken for roughly the first 10 minutes.
I recall this same device utilized in Le Samourai.
It was memorable enough for Refn and Gosling.
Interpreting other people is clearly your weakness.
I repeated the point because people here keep bashing Drive for its similarities to The Driver. They don't realize that The Driver isn't a very original film either.
So if anyone is having a wank, it's the people discussing the more obscure Driver.
Spoken like somebody who jumps to conclusions. You missed the part where I said "American action pictures."
The plot of This Gun for Hire is significantly different.
Besides, Le Samouraï is superior to This Gun for Hire. The Driver is not superior to Le Samouraï.
That was my point.
Searching someone's apartment isn't a sign of police corruption.
There's a reason why Gosling's character has been compared to McQueen and Eastwood, but not O'Neal.
In fact, both Ryan Gosling's character in "Drive" and Ryan O'Neal's character in "The Driver" remain nameless and are only referred to in the credits as "The Driver" (plus both are Hollywood pretty boys).
It’s as though working with Refn has given Gosling the keys to cool guy nirvana, the ability to effortlessly chill out on screen. This isn’t the first time I’ve seen something magical happen like this, and it also happened in an LA car crime film - Walter Hill got an unbelievably cool and assured and real performance out of prettyboy Ryan O’Neal in 1978’s The Driver.
Feigning intelligence is yours.
Once would have been sufficient, parrot clown; your garrulous belaboring was unwelcome.
Obscurity" was not my point, sophistication was; or are you that shallow to presume an implicit connection between the two?
Spoken like an abject imbecile. Le Samourai is not organic. It takes its cues from American gangster films (the fact that you propose a complete divergence between "gangster" and "action" is hysterical.) The Driver incorporates all of these influences and the elements of the budding action genre it belongs to. Go chop firewood.
No it isn't..the bare plot outline is the same. A taciturn, unflappable hitman seeks assistance from a mysterious woman after being blackmailed by his employer. The sooner you acknowledge this, the better.
That is entirely irrelevant, and a clear attempt to obfuscate the point: Le Samourai is not an undiluted, original product. It has been refracted through the lens of other films, This Gun for Hire included.
It was poorly written and therefore misleading.
Making threats and resorting to bribery to solicit information are.
...do I need to continue with this charade, you posturing simp?
In conclusion: Drive is far more derivative than The Driver. The latter is the more unique film
[deleted]
I know what Drive's influences are. But a lot of people here don't know what influenced The Driver.
Ryan O'Neal was amateur boxer who beat and lost to complete unknowns, but that's irrelevant. I'm not saying who's tougher; I'm saying who's the most iconic. Steve McQueen is regarded as the King of Cool. Clint Eastwood is still a respected actor and director. Today, Ryan O'Neal is best remembered for his unintentionally hilarious line delivery in Tough Guys Don't Dance. What do Sergio Leone and Peckinpah have to do with this conversation? Nothing. And you're trying to ask me what I'm going off about.
So you're saying I'm not good at feigning intelligence, because I am intelligent. Thank you for that.
But it's perfectly acceptable for other people to keep calling Drive a knock-off of The Driver, while never realizing that The Driver copied Le Samouraï.
You've been presuming an implicit connection between sophistication and foreign, so it looks like you've just hurt your own point.
Your attempts at projection have still failed.
What's more hysterical is you're trying to suggest "gangster" and "action" are the same genre. Does this mean Aliens is a gangster film? Goodfellas is an action picture? And I must have missed the big car chase in Key Largo.
That is not the plot of Le Samouraï. I don't remember blackmail even being mentioned in the film.
No it isn't, because even if Le Samouraï was entirely based off This Gun for Hire, Le Samouraï would be viewed as an improvement, not a knock-off. That can't be said about The Driver, which actually is entirely based off Le Samouraï.
You didn't understand what I said because you're not as smart as you think you are.
There's a difference between making threats and following through on threats.
Good job, you found two obscure websites discussing a forgotten film character.
Are you going to claim Ryan O'Neal is more iconic than Steve McQueen and Clint Eastwood?
You fail.
Again, The Driver is a stylish homage to Melville's film. Drive just knocks off its progenitor.
Irony. Textbook 101.
That is not "projection" you stone-carving primate.
If only ordinances prohibiting breeding had been ubiquitous when your parents decided to copulate, the world would be crawling, not racing, toward its inevitable demise. Are you going to actually deny that gangster films are often heavily action-oriented? There was no attempt whatsoever to "splice" the two. Drive has both action and gangsters. Are they mutually exclusive concepts? Your feeble agenda would be better served if you ceased trying to dissect my points and assigning value where you saw fit.
Yes it is, and blackmail is very much a part of the film...especially in the superintendant scene which you so carelesly glossed over.
Le Samourai is based off This Gun for Hire.
Or do I need to provide a surplus of links to support my argument? I can and am willing.
What do you have to say about Drive, which is a knock off and not an improvement?
I'm smarter than you, and in this den, nothing else matters. 'kay Buttercup?
So law breaches committed by police officers are entirely excusable if the suspect has the benefit of clairvoyance. You moribund derelict.
I can locate, in mere seconds, dozens more. That was just a warm-up, you sinking putz. As far as being "forgotten", he clearly loomed large in the minds of Refn and Gosling. Come to think of it, your sauntering over to this page means that he wasn't forgotten by you either. Eat it.
What kind of tangent are you on you dancing stooge? Who the hell said anything about iconography? Gosling's character was clearly based on O'Neal's. I can provide plenty (more) links tentpoling this assertion. It's up to you to scramble for evidence that proves McQueen and Eastwood even belong in this discussion (they don't, so don't bother looking. And for any link you dredge up, I can stockpile 10.)
Face it, you made a claim that, while not untrue, doesn't boast any kind of significance or import. The Driver is a more original product than Drive. You've silently acknowledged this, yet frame your entire defense around the non-argument that The Driver was heavily-influenced by Le Samourai. Go away. You're an insufferable bore and a bow-legged dilettante.
Don't get mad just because you encountered someone smarter than you on these boards.
My argument has been The Driver is a knock-off of Le Samouraï and it's a bigger knock-off than Drive is. I mention this because it's ironic that users here are bashing Drive for its similarities to The Driver, while not realizing The Driver isn't too original either.
The producer of Drive said the protagonist reminded him of Steve McQueen and Clint Eastwood. Not Ryan O'Neal. The only thing O'Neal is remembered for today is the YouTube video "Worst Line Reading Ever." The Google search proves that you'll find more articles about Drive that make mention of Eastwood and McQueen. I don't need any links when the film's producer stated who the influences on the main character are.
Viewing my posts, you thought you had an opportunity to win another battle on the IMDb boards and boost your ego by going after me. You thought wrong. What I really like is you dropped your first claim of me "puffing out my feathers" because I saw a foreign film. Good show.
[deleted]
Thief? Yeah, I can see some similarities, but there are some notable differences too. The Driver? Really, the plots of the two films have little in common. Risky Business... what?
But in any case, the point remains that The Driver completely ripped off the plot of a film, so it's pretty ironic that most of the people here are bashing Drive for a lack of originality.
It came as no surprise to me that the majority here would be siding with The Driver. I doubt most of the people who prefer Drive would even be on this board. O'Neal has his accomplishments, but he fared poorly against the test of time and he's remembered for all of the wrong reasons nowadays. Sure, he was a boxer, but he wasn't a professional. He was a pretty boy just like Gosling and once he got old, his career practically ended. Will Gosling follow the same path when he ages? Only time will tell.
The producer of Drive said the protagonist reminded him of Steve McQueen and Clint Eastwood.
The only thing O'Neal is remembered for today is the YouTube video "Worst Line Reading Ever."
The Google search proves that you'll find more articles about Drive that make mention of Eastwood and McQueen.
I don't need any links when the film's producer stated who the influences on the main character are.
Viewing my posts, you thought you had an opportunity to win another battle on the IMDb boards
What I really like is you dropped your first claim of me "puffing out my feathers" because I saw a foreign film.
Where did he say this?
And furthermore, this is far from the incontrovertible and irrefutable evidence which you believe it to be.
And yet he was remembered fondly enough to have his movie virtually remade by the producers of Drive. He struck enough of a chord that Gosling's character is also called, appropriately, "Driver". He made enough of an impression that Gosling is nearly a xerox of O'Neal's, from his steely-eyed stare, reclusive personality, and taciturn demeanor.
Your so-called "Google search" makes the date of your birth lamentable, since your services would have been crucial in Roe v. Wade. Consider this: "McQueen Drive"....hmm, I'm sure that none of those articles cross-referenced pertain to McQueen's driving in Bullitt or Le Mans, or his side career as a race car driver.
Links are vital for pinheads prone to making unsubstantiated blanket statements.
Chalk another point for me then, boyo.
I didn't "drop" that point at all, my position remains as resolute as ever.
The word of an individual who actually had a part in making the film is better evidence than the word of a random internet user afflicted with USI.
Absolutely. Obviously, Bullitt, Steve McQueen’s Bullitt was mentioned a lot as kind of an inspiration. Was the Mustang in the film a reference to that or was that just unintentional?
Refn: Well the Mustang came into play because I had so little money I was like, ‘OK, who can I do a deal with?’ And who would give me a car. [Both laugh] So that was one thing. But at the same time it also had to be the right car. I think that it wasn’t so much Bullitt that was in my mind. It was more of a Point Blank arena.
http://collider.com/nicolas-winding-refn-drive-interview/
On his character's Steve McQueen/Ryan O'Neal vibe:
Ryan Gosling: "We’ve been calling it film neo noir, or film neon noir. But yeah, Steve McQueen, don’t try and be like him. You’ll fail. Ryan O’Neal, he was great in The Driver. He’s a great actor. We love those films, and obviously this movie is heavily inspired by all of those genres.
http://movies.about.com/od/drive/a/ryan-gosling-drive.htm
Refn: Well the Mustang came into play because I had so little money I was like, ‘OK, who can I do a deal with?’ And who would give me a car. [Both laugh] So that was one thing. But at the same time it also had to be the right car. I think that it wasn’t so much Bullitt that was in my mind. It was more of a Point Blank arena.
Ryan Gosling: "We’ve been calling it film neo noir, or film neon noir. But yeah, Steve McQueen, don’t try and be like him. You’ll fail. Ryan O’Neal, he was great in The Driver. He’s a great actor. We love those films, and obviously this movie is heavily inspired by all of those genres.
Polish the undercarriage of my cyber scrotum you viral bitch.
When were we ever discussing Point Blank?
Which deflects what I've been saying.
McQueen is too iconic to be copied.
O'Neal has been forgotten by the masses, so people aren't going to even bother with trying to be like him.
So what happened to your real one?
We weren't, just like WE were never discussing Steve McQueen or Clint Eastwood.
Changed that for me.
So you're refuting the same "point" your dumb ass has parroted continuously throughout this thread. Retard want a cracker?
...and yet Gosling pretty much said the exact opposite of that.
You're not deserving of my cyber one, boy.
Is your arm sore from from hurling $hit against the wall?
At this point, I actually wonder if you've deliberately set out to self-parody yourself, or if you sincerely believe that your backpedaling, obfuscating, snare-dodging, tangent-driving, and hot air spewing has resulted in anything resembling salient points. Ironic how the velocity of your idiot bullet fussilade occurs amidst a climate of heightened gun control.
I'd tell you to pursue politics, but politicians at least boast modicums of intelligence. The devolution of your "argument" has more pratfalls than a Lindsay Lohan tailspin.
Points still awaiting a passable refutation:
1) Drive was influenced by The Driver
2) Le Samourai was influenced by This Gun for Hire
Is a cogent, erudite rebuttal ever going to occur in this thread, or should I start lighting candles?
http://jmoneyyourhoney.filmaf.com/owned
So you go back to a point you haven't discussed since November, bring up things that aren't relevant to your original claim, create a phrase that's more insulting to you, rant about me, and put more effort into making insults than forming a solid argument. Who's self-parodying himself again?
Points still waiting to be responded to:
1. The Driver has been forgotten by most people.
2. Marc E. Platt said the protagonist of Drive reminded him of Steve McQueen and Clint Eastwood.
3. Ryan Gosling was included in the Google search with Steve McQueen and Drive to prevent McQueen's career as a race car driver from appearing.
4. Refn never said he was influenced by The Driver.
5. Gosling was asked about Ryan O'Neal and only said he was a great actor.
6. Blackmail is not a major part of Le Samouraï.
7. The mysterious woman from Le Samouraï is not part of the bare plot outline.
The best part is you've dropped your original argument: I was only mentioning Le Samouraï to show everyone I made it through a foreign film. But when you've been thoroughly refuted, that tends to happen.
Points still waiting to be responded to
All wrong with the exception of #2, which is worthless.
This is why you need to be quarantined and prodded with sharp instruments by highly-paid government scientists.
Whilst I have openly acknowledged Le Samourai's influence on The Driver, you've sought to repudiate any and all connections between Hill's film and Refn's.
Your effluvia has diverged so radically from the topic at hand that you not only see a kernel of relevance in your "McQueen/Eastwood" prattling, you actually frame your entire fool's charade around it.
Marc E. Platt promoting his film by invoking the names of Eastwood and McQueen doesn't somehow make The Driver magically vanish from the cinematic grid (as the quotes I countered with illustrate.)
Refn openly admits that he didn't have Bullitt in mind when making Drive
while Gosling states in unmitigable English that he a) did not try to emulate McQueen
was heavily inspired by films of that genre (The Driver was referred to at this juncture of the conversation), THUS VOIDING YOUR ENTIRE ARGUMENT THAT HIS FILM IS FORGOTTEN.
But of course, you seize upon this fact to concoct some abjectly asinine point about O'Neal's further insignificance in light of McQueen's higher degree of iconography. You fu_ckin' idiot.
This brand of delusional, circuitous double-talk just keeps collapsing on itself. You've twisted yourself into an inextricable knot of retard bliss.
More links for your ego-bruised, limping dumb ass:
The fact that you also actively deny Le Samurai's debt to This Gun for Hire only reinforces my initial point you pompous, bloviating cockbag.
Some masochist with indefatigable stamina and inordinately high patience should compile your posts here into THE DUMMKOPF MANIFESTO.
Usually when you're opposed by every person you encounter in one thread, you're wrong. Instead of collecting your pride and shuffling off to some dank, foul crevasse to rot in fevered lunacy, you've gone beyond being just "wrong". If I was unsure above, I'm resolutely convinced now: You transformed your losing case into a minstrel show. Nobody can possibly hope to conduct "debate" like that and emerge vindicated. Your mom should be knighted annually and brass knuckle-sucker punched at the same coronation.
You've literally not been right about one thing. This Gun for Hire influenced Le Samourai, which in turn influenced The Driver, which in turn influenced Drive. Clint Eastwood and Steve McQueen have absolutely no connection to Drive: Refn = Grimms fairy tales/Point Blank, Gosling = John Hughes and Ryan O'Neal. Platt's comment didn't somehow retroactively effect the production of Drive. The Superintendant uses coercion and blackmail tactics to solicit information from Jane. Such tactics are illegal, whether or not he "intends to follow through", just like bomb threats are illegal whether or not the person who rigged it intends on pressing the button. The "mysterious female" lies about seeing Jef commit the murder, thereby ensuring his release from custody and setting up the film's denouement. Le Samourai is a foreign film and you're a vacant-headed moron, hence your swollen pride in making it through it's conclusion and hence your need to peal the bell on 3 separate occasions.
Go fist your bleeding ass you garrulous imbecile.
http://jmoneyyourhoney.filmaf.com/owned
What we have here is you dragging this out because you want the last word.
Rather than address specific points, you go back to your general arguments and continue to use ad hominem comments, making it even more obvious that you have nothing to offer.
Time to break this down.
"This Gun for Hire influenced Le Samourai"
Here, you're copying Walter Hill's response to the influence Le Samouraï had on his film. It wasn't correct back then, and it still isn't correct now. The only major thing they have in common is they focus on a hitman. It's pretty fitting how your one link that worked described the differences between Le Samouraï and This Gun For Hire.
"which in turn influenced The Driver"
Which is what I've been saying from the start... destroying your "You've literally not been right about one thing" remark in the process.
"which in turn influenced Drive."
So why do the plots of the two films have little in common?
"Refn = Grimms fairy tales/Point Blank"
That doesn't help your argument of Refn being influenced by The Driver.
"Gosling = John Hughes and Ryan O'Neal."
Let me remind you that Gosling was asked about McQueen and O'Neal. Let me also remind you that all Gosling said about O'Neal was he's a great actor. He loved films and genres as influences, but not actors. So really, his influences according to that interview were neo noir films and John Hughes comedies.
"Platt's comment didn't somehow retroactively effect the production of Drive."
He's the producer. What do you think his job is?
"The Superintendant uses coercion and blackmail tactics to solicit information from Jane. Such tactics are illegal, whether or not he 'intends to follow through', just like bomb threats are illegal whether or not the person who rigged it intends on pressing the button."
Except the Superintendent is an officer of the law, not some punk most people would know nothing about. He's expected to uphold the law, not break it. So it's acceptable for him to make threats as long as he doesn't go through with them due to the privileges he gets from his job and a higher level of trust when it comes to threating to commit crimes. Still waiting for evidence of blackmail being a big part of Le Samouraï.
"The 'mysterious female' lies about seeing Jef commit the murder, thereby ensuring his release from custody and setting up the film's denouement."
While the pianist has a notable role, she's not a major player in the overall story. She appears in a handful of scenes and I recall only two, maybe three scenes of her and Jef actually talking to each other. She's arguably not the most important female character in the film either. Come to think of it, was the female lead in This Gun For Hire really that mysterious?
"Le Samourai is a foreign film and you're a vacant-headed moron, hence your swollen pride in making it through it's conclusion and hence your need to peal the bell on 3 separate occasions."
The hive mentality on this thread was to praise The Driver for its originality and bash Drive for copying it. After all, it sure is cool to go against popular opinion. But no one here realized The Driver actually copied another film, Le Samouraï. So I figured I'd let this great irony be known...and people still failed to comprehend this, making their comments even more ironic. Have fun looking for the part in those posts where I said Le Samouraï was a foreign film. Meanwhile, Le Samouraï has 18,762 user votes, while The Driver has 5,041 votes and This Gun For Fire has only 4,002 votes. I'm sure you enjoy discussing old and obscure movies.
Now if you'll excuse me, I'm going to go watch Spring Breakers.