Perspective: Oscar nominee “Drive My Car” is already a winner — as one of the most insightful movies about theater ever made
But those efforts, like so many film adaptations before them, distill essentially only the basic ingredients of their stage sources — plot, character, music — and as a result feel more imitative than transformative. The success in these instances is akin to
restless, desperate need to be heard. On screen, particularly through a dynamite star turn by Andrew Garfield, Miranda has discovered exhilarating new chords. Miura’s deceptively stoic Misaki Watari, hired to drive him, the movie manages to reveal both how a production comes to the stage and how two people struggling in isolating silences come together. It’s also an impeccably textured elucidation of a group of strangers joining up to animate the written word, and of the ways a great play remains eternally relevant.
Theater people will find a special affinity for a movie in which one of the characters is identified as the production’s dramaturge, or literary adviser, an often unsung member of a play’s creative team. The film takes pains to record Yusuke’s unorthodox directorial style, and it somehow manages to avoid seeming pedantic: In extended sequences, the actors sit in the rehearsal room, reading the play devoid of inflection, indicating the end of a line by knocking on the table.
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