“You make one mistake, one little f—–g mistake, and the whole world comes crashing down around you!”. Ivan Locke’s warning resonates powerful and inescapable on the one-way road of life. A road that he travels in a frosty night on his BMW X5, unique filmic space of history, in the run up to its responsibilities, ready to face the tragic consequences of a small crack in the past that will bring down the solid foundation of his life.
This is Locke, touching individual drama that in the title already contains the torment of the protagonist. It will be a case that the surname Locke sounds like the word lock, and that is to close, tighten the vise? Certainly not.
Locke has a happy family and is as solid as the concrete of which is one of the leading experts in his field. The night before the biggest casting of concrete ever occurred in Europe, which should oversee Locke, he has to face with the choice that can make a difference. To continue his live or shake off the dust of gray concrete that covers his conscience (and which leaves a trail everywhere) assuming his responsibility running to Beth, about to give birth to the fruit of a single night together. The traffic light turns green. Locke did not return home, but choose to meet, helpless, to the collapse of the solid building of his existence. Along the way, Locke must render an account of his choice to the actors of his life only through the loudspeaker of the phone (which here takes on a dramatic fundamental role, becoming a symbol of a way to relate to today).
Steven Knight, screenwriter Cronenberg’s (Eastern Promises) and Frears’ (Dirty Pretty Things) pupil, builds an intense drama, where time and diegetic narrative almost coincide, while Locke, on a journey of redemption, lays bare the humanity of a man haunted by his past, decided to remedy its mistakes and choosing to accept a heavy responsibility, even if it means witness the radical upheaval of his being.
An essential film, without special effects or popcorn boundary (so much for those who had already given up for dead the purity of a certain kind of movies!). Visual and emotional experience that goes back to the origins of cinema, where everything is played on the power of the “close-up”, here masterfully revived from the increasingly upset face of a great Tom Hardy, the only actor in the scene in a on the road drama that speaks of responsibility in an age where often runs away, for fear that the building of our life collapses under the weight of our choices.