Drive-Away Dolls: A Lightweight Caper with Talented Actors
Ethan Coen, known for his collaborations with his brother Joel, has ventured into solo territory with his latest film, Drive-Away Dolls. Starring Margaret Qualley, Geraldine Viswanathan, and Beanie Feldstein, this caper comedy takes inspiration from pulp B-movies and aims to capture the exuberant eccentricity of Coen’s previous work. However, while the film boasts a talented cast, it falls short in delivering consistent humor and a compelling plot.
Drive-Away Dolls marks Coen’s first dramatic feature without his brother Joel by his side. Co-written with his wife, Tricia Cooke, the film was originally titled Drive-Away Dykes, highlighting its conception as a trashy exploitation film in the vein of Russ Meyer. The central focus on the sexuality of its female protagonists adds a raunchy element to the story.
The plot revolves around two women, Jamie and Marian, who unwittingly find themselves in possession of a briefcase with sensitive contents that could ruin a prominent Republican political career. As chaos ensues, the film takes on a series of twisty turns and vignettes that are wrapped up too abruptly and easily. The humor feels forced and lacks the infectious sense of mischief that Coen is known for.
The story begins with Santos, played by Pedro Pascal, clutching the silver metal briefcase tightly in a Philadelphia cocktail bar in 1999. He is pursued by a thug posing as a bartender before inept henchmen Arliss and Flint, portrayed by Joey Slotnick and CJ Wilson respectively, enter the scene. The briefcase is then placed in the trunk of a Dodge Aries at a Drive-Away rental company, to be delivered to an address in Tallahassee, Florida.
As expected in screwball plots like this, the precious cargo ends up in the wrong hands. Jamie, a free-spirited Southern gal with a voracious sexual appetite, becomes entangled in the situation after her breakup with pugnacious cop Sukie, played by Beanie Feldstein. To escape her ex’s wrath, Jamie embarks on a road trip to Tallahassee with her buttoned-up friend Marian. Along the way, they encounter amusingly named lesbian bars and BBQ joints, adding a touch of humor to their journey.
Meanwhile, Arliss and Flint are tasked with retrieving the briefcase, facing pressure from their intimidating boss, “The Chief,” portrayed by Colman Domingo. Sukie also joins the pursuit after the goons pay her a visit, alerting her to the situation. However, Coen and Cooke undersell the suspense by having Jamie remain unfazed by the discovery of the briefcase and eliminating many of the more menacing threats. This choice allows the film to focus on Jamie’s pursuit of a good time and getting her uptight friend Marian to loosen up.
The contents of the briefcase are hinted at through trippy psychedelic interludes featuring an unbilled major-name pop-rock star. These interludes gradually reveal an uncomfortable connection to Senator Gary Channel, played by Matt Damon, whose family-values platform could be compromised if exposed. While the connection is clear, the script fails to explain how the incriminating material can be traced back to the senator.
Coen assembles a talented team of cinematographer Ari Wegner, production designer Yong Ok Lee, and composer Carter Burwell, resulting in a visually appealing film. However, the inspirations from Meyer’s Motorpsycho, Wishman’s Bad Girls Go to Hell, and Aldrich’s Kiss Me Deadly are more nominal than discernible onscreen. The decision to set Drive-Away Dolls in the run-up to Y2K instead of the 1950s or ’60s adds little narrative value.
While the film boasts a talented cast, Margaret Qualley’s performance as Jamie is overshadowed by her exaggerated Southern accent, making the character come across as shrill and annoying. On the other hand, Geraldine Viswanathan shines in her portrayal of Marian, bringing dry humor and a contrast to Jamie’s wild nature. However, it is Beanie Feldstein who steals the show with her hilarious portrayal of Sukie, a character unafraid to stand up to anyone.
In conclusion, Drive-Away Dolls falls short of capturing the exuberant eccentricity and infectious sense of mischief that Coen is known for. While the film boasts talented actors and a visually appealing package, the humor feels forced and the plot lacks depth. Despite its shortcomings, Beanie Feldstein’s performance as Sukie provides a much-needed comedic spark in an otherwise strained and spotty film.