For the second time in less than a year I was riveted by a movie that featured only one actor. First came Robert Redford in "All is Lost." And now in the equally, if not more brilliant "Locke" starring Tom Hardy, we have another solitary actor, but at least he gets to speak and listen to other voices. Although both movies have a gimmick, they work in different ways cinematically to achieve powerful results. Both are examples of amazing writing, directing, acting, cinematography, and editing; and both should be studied for many years to come.
"Locke" is written and directed by Steven Knight, the talented British filmmaker who wrote two of my favorite movies from the past decade: "Dirty Pretty Things" and "Eastern Promises." It comes as no surprise, therefore, that his latest movie is a superbly crafted thriller with complex characters and exhilarating drama.
Nor is it surprising that Tom Hardy is an amazing actor. Most famous for playing the supervillain Bane in the recent Batman movie, Mr. Hardy has been gaining a reputation for his combination of physicality and psychological complexity. Some of his best work can be seen in such movies as "Warrior" and "Lawless," and he's appearing in the upcoming "Child 44" and the newest "Mad Max." Forced to carry an entire movie on his own, he succeeds brilliantly and should be remembered at Awards season. He may have the best voice in cinema today - or at least the best control of his voice as a tool of his acting arsenal. Here, he exhibits a Welsh accent that is distinct, powerful, and ultimately the heart and soul of an entire movie. It's an amazing achievement.
"Locke" the movie is about Ivan Locke, a working-class family man who steps into his BMW SUV at 9:00 PM on a rainy night and drives 90 minutes to his destination. Along the way he has multiple phone conversations with his co-workers, his wife, his children, and several surprises. He even has a few imaginary discussions with his long-departed father. Ivan Locke's profession is a concrete specialist, and his wife says he leaves concrete footprints wherever he walks. He pours the foundations for major buildings (which he calls "my buildings") and has earned a reputation over the last 10 years as an expert. On the eve of the biggest concrete pour in Europe - outside of the military and nuclear sites - Locke is called away on an unexpected emergency. His decision to leave, and not supervise his work, or go home to his family for one night, sets in motion the most strenuous drive of his life. The result is a captivating journey that we the audience experience with Locke.
The movie was filmed over the course of eight nights while Mr. Hardy was towed around London. His car was equipped with three cameras, as he read through the entire script twice each night (teleprompters were installed to help). The voice actors whom he interacts were stationed at a nearby hotel and placed actual calls on cue. Thus the conversations are real, and Mr. Hardy did not have to act completely alone (unlike Mr. Redford in "All is Lost"). The vibrant nighttime photography is by the talented Haris Zambarloukos - a Cyprus-born cinematographer with a fabulous eye. His lighting and compositions provide a virtual second character to the car ride, creating a richness to every shot.
As fascinating as it is to watch, it's the writing that elevates this story. The movie is gripping and provocative because of Locke's choices. He's made mistakes and now he's trying to fix them. Is he a bad man? One character describes him as "the best man in England." But other characters beg to differ. By keeping Locke as a working class everyman, writer-director Steven Knight makes him very relatable. He's not a secret agent, politician, or gangster. He's very real, which makes the drama all the more absorbing.
Like many recent movie protagonists, Locke may be seen as unlikable. Take Llewyn Davis, in the recent Coen Brothers movie "Inside Llewyn Davis." He has poor judgment, acts boorish, is insensitive, but is still fascinating. Why? Because he isn't a saint, and neither are any of us. We all make mistakes, and we all need to improve. Ivan Locke admits his mistakes, comes clean, and starts to change. It's fascinating to see it happen up close, as it happens, in one single car ride. After the show, I stepped into my own car and paused. I wondered where I was headed, and how a simple commute home can sometimes be so much more.
