Tom Hardy gives a magnificent performance as "Locke," a 2013 film written and directed by Stephen Knight.
This isn't the first time there has only been one person in a film -- Robert Altman's "Secret Honor" has Nixon talking into a tape recorder in a stream of consciousness. That was based on a play, and Nixon's was the only voice.
In Locke, we only see Locke, but we hear the voices of other people over his car phone. The character is driving to London on the M6 and fielding a lot of phone calls. He has made the decision to be at the hospital for the birth of his illegitimate child and as a result, can't be at the huge concrete pour happening on his job, or at home with his wife and two sons watching a game on television.
We watch Locke's life falling apart in 90 minutes, while he stays resolute in his decision, and also keeps his cool. He works with Donal (Andrew Scott), who is on site for the concrete pour, going over everything that has to be done and handling problems that come up as Donal prepares for the next day's action.
He calms the expectant mother, a woman he hardly knows who become pregnant after a one-night stand. He confesses to his wife and talks to her throughout the drive, and also to his two sons. He reassures his boss about the concrete pour. He deals with the maternity unit at the hospital.
Locke has made a decision that has impacted his job and home life, but he has done so to be a better man than his father, whom he talks to during the drive, although his father isn't there. He's someone everyone seems to depend on.
The whole film depends on Hardy keeping our attention, and he does, with the only set being a car. A very absorbing drama without the usual bells and whistles, and refreshingly free of predictability or clichés.
Very good and must be seen to be appreciated.
This isn't the first time there has only been one person in a film -- Robert Altman's "Secret Honor" has Nixon talking into a tape recorder in a stream of consciousness. That was based on a play, and Nixon's was the only voice.
In Locke, we only see Locke, but we hear the voices of other people over his car phone. The character is driving to London on the M6 and fielding a lot of phone calls. He has made the decision to be at the hospital for the birth of his illegitimate child and as a result, can't be at the huge concrete pour happening on his job, or at home with his wife and two sons watching a game on television.
We watch Locke's life falling apart in 90 minutes, while he stays resolute in his decision, and also keeps his cool. He works with Donal (Andrew Scott), who is on site for the concrete pour, going over everything that has to be done and handling problems that come up as Donal prepares for the next day's action.
He calms the expectant mother, a woman he hardly knows who become pregnant after a one-night stand. He confesses to his wife and talks to her throughout the drive, and also to his two sons. He reassures his boss about the concrete pour. He deals with the maternity unit at the hospital.
Locke has made a decision that has impacted his job and home life, but he has done so to be a better man than his father, whom he talks to during the drive, although his father isn't there. He's someone everyone seems to depend on.
The whole film depends on Hardy keeping our attention, and he does, with the only set being a car. A very absorbing drama without the usual bells and whistles, and refreshingly free of predictability or clichés.
Very good and must be seen to be appreciated.