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And when Baby nearly bumps into passersby as he executes his self-satisfying Fred Astaire routine, they don’t look charmed. It also drowns out street musicians, whose contributions, any city-dweller will report, can range from irritating to life-affirming. His music tunes out annoyances of urban life-an unpleasant street preacher, the alarms of emergency vehicles, inane conversations on the sidewalk. Baby nods at a girl in big chunky headphones, as if to say, “Music makes life better, why ever shut it off?”īut Baby is also, in this scene, somewhat oblivious. Other folks in the scene are also puttering to their own scores, which we don’t get to hear. He’s having a killer time doing a mundane task-a modern miracle available to all since the Walkman’s invention. Walking down an Atlanta street to grab coffee, Baby saunters and skips to Bob & Earl’s 1963 soul song “Harlem Shuffle” as street signs and graffiti, trippily, seem to reflect the lyrics. One way to think about Baby Driver is as a riff on the pros and cons of listening with the privacy of earbuds and the power to call up most any song at most any time.Ī plot-extraneous scene early on hints at this theme.
Best songs from baby driver soundtrack code#
Yet his code name, as well as a childhood flashback showing him unwrapping a classic iPod on Christmas morning, suggests Baby can also be taken as a generational symbol. His music taste-which tends, Tarantino-like, toward vampy, brash classic rock and R&B-fuels the movie’s kinetic thrills, with every scene choreographed to crash and vroom on-beat. And with, say, The Damned blaring, this getaway driver doesn’t miss a single convenient gap in traffic. With, say, Dave Brubeck in his ears, he catches every word of conversation. The laconic Baby, we come to understand, has a de facto superpower born of childhood accident: Songs can make him more attuned to the outside world. Ansel Elgort’s character Baby spends most of the film with earbuds in, whether he’s walking down the street (acceptable), driving (illegal in Georgia, the film’s setting), or participating in a team meeting with his criminal colleagues (someone call Miss Manners). Cue the op-eds about dangling white wires as a sign of civilizational crisis.īaby Driver, Edgar Wright’s deliriously clever car-chase yarn in theaters now, is firmly on the side of the rude. Last year, a Premiere League soccer coach mandated weekly “communication sessions” for his players because they were plugged into their listening devices when they should have been bantering between matches. Yet anyone who’s recently shared a car with a high schooler, or stood in a checkout line in a college town, might report that this particular norm is eroding. So say the etiquette books, and so would say common sense for most people-especially those over a certain age. It’s rude to wear headphones when interacting with other people, and it’s ruder to leave your music on when doing so.
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