Steven Knight, 2014, UK-USA
But from tales of youngfemale assertion to the life meltdown of a man. Effectively it is Tom Hardy as a construction manager in a car, on the English motorway, trying to stage-manage and salvage his life through the very modern means of hands-free phone calls. By all accounts, he is a very trustworthy and successful family man and construction manager, but…
Director Steven Knight overcomes any pretensions and limitations that its high-concept premise may have with a lucid, thoroughly engaging script. It is in effect a one-act play/radio drama that simply allows Hardy to do his thing whilst employing motorway lights and dissolves to create a naturally, faintly trippy atmosphere. So organic and convincing are the conversations we hear that the contrivances take a while to become obvious: Ivan Locke fights to ensure the foundations of a building are being laid in his absence whilst his family life is simultaneously falling down around him due to a fleeting infidelity which has him deserting everything in an attempt to do the right thing. Since it is one face we see for the entire running time, there needs be an actor that can effortlessly command his space and Tom Hardy is definitely up for the job, supported by an exceptional supporting voice cast. That he is as far from his “Bronson” persona as he can probably get makes him more fascinating: can you do good when you’ve done bad?
Arguably, “Locke” offers a bleak worldview where mistakes are not to be forgiven, where one wrong foundation, one wrong ingredient in the mix will mean reconciliation is not possible. Are we to agree that Locke – an ostensibly decent man – is deserving of almost complete estrangement due to his infidelity? And surely saying “no” is not endorsing that infidelity but without the room to further explore the complexities and ongoing changes or lack-of-change in the family crisis, there is an aftertaste of meanness. The tale implies that mistakes can’t afford to be made, but surely the film is equally arguing that good people will stumble and blunder and, ultimately, act human. For Locke, he discovers that his sills in reliability and negotiation will not resolve everything, no matter that he carries the philosophy that any crisis can be made good with effort and by doing the right thing. The film gets to the frailty of things but all the grey areas leave our flawed protagonist out on his own.
Where“Spring Breakers” and “We Are The Best” present young women aching to discover and assert themselves, “Locke” presents a man discovering that he is not quite who he hoped to be. “We Are The Best” offers that growing up is as quietly as fun and surprising as it is difficult and painful; “Spring Breakers” offers self-discovers as envisioned by a rudderless, immature youth pop-culture; “Locke” suggests that all your good work can be undone at any given moment, just given a key mistake made.