Overview
Jamie, an uninhibited free spirit bemoaning yet another breakup with a girlfriend, and her demure friend Marian desperately needs to loosen up. In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of inept criminals along the way.
This American road trip comedy from Ethan Coen, which sees two lesbians take a trip to Tanahassee in a car which, unknown to them, holds a case carrying an unspecified cargo that is being sought by some undesirable characters, is a zany, fast paced affair that has more than a touch of the more outlandish elements of earlier Coen brother films. Initially conceived two decades ago, the film has been in varying stages of production at quite a few points before landing in the guise it inhabits today.
Margaret Qualley plays Jamie, a free spirit whose infidelity leads to her being kicked out of home by her partner, Sukie (Beanie Feldstein). She joins her timid friend, Marian (Geraldine Viswanathan), who is planning a trip to Talahassee in Florida, and the pair take a ‘drive away’ car (basically a free ride, delivering a vehicle to somewhere it is required). But the car was intended for a trio of criminals to deliver some cargo in, resulting in the pair being tracked down. Unaware of the danger they are in, the pair start to become closer on the trip, as Jamie tries to get the uptight Marian to open up a bit.
The film is erratic from the start, and the extremely tight 84 minutes doesn’t allow for much in the way of development of side characters, with many being simple caricatures, the likes of which we have seen paraded in a variety of films over the years, especially those from the Coen stable. But that isn’t an issue when the central duo work so well on screen together, sizzling with a chemistry that makes it easy to care for the pair, whilst finding amusement (and, indeed, hilarity) in their antics. Qualley is foul-mouthed and fiery, and the contrast to Viswanathan’s reserved and proper character balances well, especially as we see both characters adopt traits of the other through the film. The throwaway support around them, as mentioned, are very basic in their design, but given some weight by the names who are representing them. Colman Domingo strikes a cool menace as The Chief, Pedro Pascal gets a brief turn in the opening moments of the film, and Matt Damon pops up as Senator Gary Channel who appears to have some connection to the mysterious case, but it is Beanie Feldstein who lends the best support as jilted ex Sukie, bringing some full-on energy to the part, and delivering some of the funniest moments as a result.
Drive Away Dolls is getting a very mixed response from audiences, with some arguing that it feels like a cheap knock-off of similar films, especially ones from the Coens themselves, and that is absolutely fair. There are certainly times when you are sure you have seen this all done before – even the argumentative bungling criminals is a trope the Coens have rolled out multiple times – but with the frenetic pacing never letting up, this didn’t bother me, and I found myself chuckling away as I was taken along on the ride.