Locke is a true minimalist film, with only one actor appearing throughout (the rest are only heard via phone calls) and taking place entirely in a driven car. The story is about a man (Tom Hardy, playing our title character Ivan Locke) who’s one mistake has ended up having much greater than anticipated consequences. Rather than avoid the problem (which would allow his life to remain the same), Locke makes a split second decision to face his mistake head on, without lies or deceit. The rest of the film follows Locke driving towards his destination while calling a list of people (his family, boss, work associates, etc…) that are significantly affected by his choice. While the film’s minimalist setting is unique and refreshing, its success resides largely because of Tom Hardy’s performance; a role that would decide whether Locke would flourish or fail. Fortunately, not only was Tom Hardy the right choice for the role, it’s his performance that brings Locke to the next level.
For someone sitting in the exact same spot throughout the entire film, Hardy is downright captivating to watch. The film makes clear his decision is a very difficult one that didn't have to be made; one that will drastically affect his life, job, and family. Locke realizes this and instead of laying in doubt, reinforces his choice with as much confidence as he can muster; using a smoothing and collective voice to try and calm his frantic callers. His decision has a lot to do with his deceased deadbeat father, who Locke consistently talks too as if the dad’s in the back seat. His father serves as a means of reassurance (and a way to view Locke’s thoughts) that his decision was indeed the right thing to do, and that it will help clean the Locke surname after generations of sullying.
The film’s effective setting means Locke’s callers can only hear the calm and collectiveness (which serves to both reassure himself and the callers) that masks the true emotions showing on his face, which viewers are allowed to see firsthand. There are times where Locke understandably loses his calm demeanor, such as when he realizes vital paperwork for his employee is in his passenger seat. I could practically feel the futility wash upon his face, realizing there’s nothing he can do being hours away in a car. Locke briefly hangs up to furiously swear and slam the car horn in frustration, only to become his calmer self once returning to the phone.
Locke the film succeeds, because Locke the character succeeds. This is both due to Tom Hardy’s fantastic performance and how relatable Locke can be; not because of his mistake and choices (though I’m sure there are those who can relate there), but in the emotions shown through handling those choices. Self-reassurance that he’s chosen the honorable path, pride in his accomplishments, guilt over his actions, heartbreak over the destructive consequences, anger over limited control, madness at things spiraling out of hand, breaking down over the many pressures, serenity at accepting his losses and happiness over realizing not everything was in vain. These are all emotions Locke faces during his drive, and emotions we the viewers faced, or will face, throughout our lives. I may not always agree with his actions, but I can certainly sympathize with the emotions felt. It’s through the combination of its refreshingly distinctive style and one of Tom Hardy’s best performances that Locke stops from becoming gimmicky and ends up an emotionally satisfying film with a wonderfully complex and meaningful character.
