Ferrari

Great film, exactly the kind of biopic I like - they pick out one important chapter in the life of a particular person, and when well written and filmed, they manage to say everything that matters. From that perspective, though, Ferrari is a bit more cunning. It may be about Enzo or Piero, it may be about both at the same time, but it’s most likely about the name Ferrari and its bearers and wearers. Michael Mann has it down to a tee, from the opening black and white scene with the eye-popping rear projection, to the quiet and loud dialogue and the amazing theatre scene, to the racing sequences with the camera damn low to the road, and the crash scenes (the ugly visual effects in the trailer is thankfully not so ugly  in the cinema). Still, it's not the roaring engines that propel Ferrari forward, but the brilliant performances of Adam Driver, who is once again someone else entirely and can steal any scene, the vivacious Penélope Cruz and her perfect counterpart Shailene Woodley. Daniel Pemberton's stamping music and the beautiful cinematography complete the experience and enhance it. Once again, a true big screen film. (01/06/2024)

The opposite of Le Mans in many ways. In terms of time narrative, it is a small, intimate racing film, a study of the tormented genius of Enzo Ferrari from the surprising perspective of a family drama, not a flashy driving symphony of speedsters. It's not that there's no driving, and it even has a nicely retro tone with an extreme dose of realism and physicality (except for those awful digital flying cars), but Enzo's living room, bedroom and office are the primary focus. Michael Mann has made a dream come true, in a largely un-Hollywood, non-mainstream way. It's going to be hard to make a lot of money with this film, but the production values are solid. It's not the genre we're used to with Mann, and some of his traditional trademarks are not and can't be here, but he hasn't disgraced himself. (03/03/2024)

The omission of Penélope Cruz in the Oscar nominations is completely incomprehensible to me. Adam Driver is fine here, he doesn't try to overact with "Italian-style" expressionism, even in tense scenes his acting is nicely decent, and I even believed that grey hairpiece on his head, but the main star for me is Penélope. Not the cars, about which I know nothing, not the races, but this woman, tormented by emotions and doubts, fights an internal battle throughout the film, only to capitulate at the end, because the family business is above all. And related to this is Michael Mann's intention, he doesn’t try to approach Enzo Ferrari's life with some boring biographical description and ticking off the years, but to bring the marital discord of a prominent family to life in a short period of time. And the races are just a nice addition, though the production is nicely polished and the cinematography nicely dramatic. I'd have perhaps only two criticisms, I don’t think it’s necessary in a non-English speaking setting to adapt the English of the actors into some sort of accented pidgin, as happens here, and I would have preferred not to see those CGI cars flying through the air in such a nicely old-fashioned film. (03/23/2024)

The opening quarter-hour is a masterclass in introducing the central characters and their inner pain, conflicts and life motivations. This is particularly true of the character of Enzo Ferrari, industrialist and engineer, a man of iron and principle with a tattered family life. Adam Driver was born to play this role, and the film’s energy and tone come more from him than from the cars. Daniel Pemberton’s emotionally rich and energetic music, supplemented with vocals in places, give the film spirit. The retro stylisation of both the settings and the other characters is great, and each of the supporting actors has the necessary personality. The apt lines of dialogue make clear both the mortal danger of the race drivers’ passion and the difficult position of Ferrari and his company in the given industry – responsibility for lives not only in the quest for prestige, but also in the principle activity of maintaining the company’s business. (01/07/2024)

I’m not sure if Michael Mann intended for the thunderous roar of engines during the Messerschmitt flybys to fall short in appeal compared to the female element processing the sage from Maranella with force, pain, and anger. That the performance and graceful curves of the red beauties he’s been dreaming of for decades wouldn’t be enough to compete with the horsepower of Madrid’s stinger. The detached Driver is just as good. When it comes to racing cars, the Commendatore is merely a colleague in both homes, still with much to learn. (07/23/2024)