Locke, 2013.
Directed by Steven Knight.
Starring Tom Hardy, Ruth Wilson, Olivia Colman and Andrew Scott.
SYNOPSIS:
Over the course of a car journey from Birmingham to Croydon, Ivan Locke loses everything in his mission to do the right thing.
The idea of a film set almost entirely in a BMW with Tom Hardy putting on his best Welsh accent doesn’t sound like the makings of a good drama, but Locke is an enticing film to watch.
On the night before his biggest job as a builder, Ivan Locke decides to leave behind his wife, two children, steady job and seemingly perfect life to rush to the aid of a woman he got pregnant. What follows is a 90 minute journey of despair as he tumbles deeper down the rabbit hole in this ingenious piece of filmmaking.
Set entirely in a BMW with one actor on screen is a bold choice by Steven Knight and it’s mesmerising at times. Knight the tension through a series of phone calls mixed with blurred images of motorway signs and lights and an ever desperate Tom Hardy as Ivan Locke. It’s an interesting experiment that only works to a certain extent. A strong central performance from Tom Hardy (despite his slightly distracting and uneven Welsh accent) holds the film together and Knight’s framing of Hardy’s face during certain emotion scenes made me realise why Knight had chosen this style and how effective it can be. Where it fell down for me was in the various cutaways to the outside world. We leave Locke’s BMWA bubble and it breaks the tension and realism of Lock’s predicament.
Then there is Ivan Locke himself. He is neither a hero or a villain. He is simply a man who has made a mistake and knows exactly what he is going to do. The connotations of philosopher John Locke are there but Ivan Locke is simply himself. He’s pedantic, concrete obsessed, has severe father issues and although he’s making the right moral choice, how many of us would do the same thing? Locke makes some excuses but he never asks for forgiveness – it is always about the next step. Some may say this is unrealistic but I found it refreshing and a good driver for him to keep going.
Tom Hardy has always been a captivating actor to watch from his menacing presence as Charles Bronson through to Bane, Eames, and the subtle Ricki Tarr. Locke is no difference, it’s a powerhouse performance. I did find his Welsh accent distracting at times but there were moments of brilliance. Knight uses the rear-view mirror to enable Locke to monologue about his absentee father and in these moments we see the ferocious element of Hardy that has graced our screens over the years. He’s embittered and he is the picture of a broken man; even his immune system is failing him on his journey. Hardy carries the entire film and his moments of silence are filled with poignancy. Listening to a voicemail from his son, the camera is focussed on Hardy’s face as the tears fall. It’s simple and that’s what Locke is, it is a simple story of life and mistakes.
The supporting cast are only heard via mobile phone and they add to the layers of the film. Ruth Wilson as his wife, Olivia Colman as the woman he’s rushing to and Andrew Scott as the hapless Donal all build Locke ‘s world. From them we learn who he is and how he has gotten to this point on the M6 late at night.
This is Hardy’s film and his performance is interesting to watch. Locke is by no means a perfect film: the accent felt unnecessary and in terms of story it is by no means changing the game, but it’s style is one that will be copied again and again. Those who are expecting this film to follow other single setting films like Phonebooth and Buried will be disappointed. This isn’t a thrill ride, it is an emotional study of one man on a road he must follow.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
Helen Murdoch
Originally published April 25, 2014. Updated April 12, 2018.
