December 24, 2023
FILM: FERRARI
DIRECTED BY: MICHAEL MANN
STARRING: ADAM DRIVER, PENELOPE CRUZ, SHAILENE WOODLEY
RATING: 3 out of 4 stars
By Dan Pal
Quick question: When you think of Ferrari what do you think of? If you said a car you’re probably in line with how most people would respond. The new film Ferrari isn’t about any one car, or any particular details surrounding the famed sports car. Rather it is centered on the man behind it all: Enzo Ferrari, played by Adam Driver. Okay, so this is a biopic, right? Well sort of. That’s part of the problem with director Michael Mann’s film – it doesn’t know exactly what it wants to focus on.
In the beginning there are a few black and white scenes of the famed figure racing his creation. The film then jumps ahead to 1957 when the world has changed for the man. He has suffered a series of losses including friends and, most notably, his young son Dino. He’s losing money, which will require him to partner up with his competitors. However his biggest concern, at least according to this film, is how to deal with his wife Laura, played by Penelope Cruz and his girlfriend Lina, played by Shailene Woodley. Lina has had a son with Enzo named Piero who is the apparent heir now to the Ferrari name and financial legacy. Laura spends much of the film searching for answers about this secret second life. As such, Cruz depicts the character as fierce, unhinged, lost, and sporting a permanent scowl on her face.
Mann devotes major chunks of this story to the domestic soap opera. Then the narrative changes to focus on Enzo’s racing ambitions. Mann goes back to the drama at home and then back again to the races. It’s almost as if there are two films happening at the same time. Fortunately, Adam Driver is relatively consistent in his performance as Enzo Ferrari. He doesn’t have to alter his expressions much (similar to Cruz.) It’s a pretty controlled characterization. Of course, all of the actors have to maintain their Italian accents. Woodley’s is a bit inconsistent but Driver’s is fine. It’s as if the accent is his biggest challenge here. Cruz’s is a bit more curious though. Since the actress already has a strong European accent, it’s hard to tell how much she is truly embracing her character’s way of speaking or if Cruz is creating another hardened, angry woman similar to the one she won an Oscar for (in Woody Allen’s Vicky Cristina Barcelona.) Actually her personification here is a bit more one note than what she did in that other more successful and rounded performance.
Going back to the racing story though proves to be where the film hits its major climax. There is an elaborately recreated race through the streets of many Italian small towns and rural roadways. Given how narrow these roads are this sequence is particularly suspenseful, leading to one truly horrific crash that is unlike anything ever shown on film before. Seeing this made me wonder if the film would have been better if its primary focus was on the racing, and the Ferrari car itself. What made it such a significant piece of work? How did this whole industry and contest begin?
Don’t get me wrong, I love a good domestic drama but this time Mann seemed to be teetering a bit too much between both storylines. It’s not a bad film just much too haphazardly presented. Fans of cars and racing will be bored by major sections of the film. Those who love a good drama can relish in the rather lengthy opera scene in which characters’ memories are spurred and a lot of personal exposition is provided. So, you see, this is really a collection of two films, for perhaps two different audiences.
Ferrari opens this week.
FILM: FERRARI
DIRECTED BY: MICHAEL MANN
STARRING: ADAM DRIVER, PENELOPE CRUZ, SHAILENE WOODLEY
RATING: 3 out of 4 stars
By Dan Pal
Quick question: When you think of Ferrari what do you think of? If you said a car you’re probably in line with how most people would respond. The new film Ferrari isn’t about any one car, or any particular details surrounding the famed sports car. Rather it is centered on the man behind it all: Enzo Ferrari, played by Adam Driver. Okay, so this is a biopic, right? Well sort of. That’s part of the problem with director Michael Mann’s film – it doesn’t know exactly what it wants to focus on.
In the beginning there are a few black and white scenes of the famed figure racing his creation. The film then jumps ahead to 1957 when the world has changed for the man. He has suffered a series of losses including friends and, most notably, his young son Dino. He’s losing money, which will require him to partner up with his competitors. However his biggest concern, at least according to this film, is how to deal with his wife Laura, played by Penelope Cruz and his girlfriend Lina, played by Shailene Woodley. Lina has had a son with Enzo named Piero who is the apparent heir now to the Ferrari name and financial legacy. Laura spends much of the film searching for answers about this secret second life. As such, Cruz depicts the character as fierce, unhinged, lost, and sporting a permanent scowl on her face.
Mann devotes major chunks of this story to the domestic soap opera. Then the narrative changes to focus on Enzo’s racing ambitions. Mann goes back to the drama at home and then back again to the races. It’s almost as if there are two films happening at the same time. Fortunately, Adam Driver is relatively consistent in his performance as Enzo Ferrari. He doesn’t have to alter his expressions much (similar to Cruz.) It’s a pretty controlled characterization. Of course, all of the actors have to maintain their Italian accents. Woodley’s is a bit inconsistent but Driver’s is fine. It’s as if the accent is his biggest challenge here. Cruz’s is a bit more curious though. Since the actress already has a strong European accent, it’s hard to tell how much she is truly embracing her character’s way of speaking or if Cruz is creating another hardened, angry woman similar to the one she won an Oscar for (in Woody Allen’s Vicky Cristina Barcelona.) Actually her personification here is a bit more one note than what she did in that other more successful and rounded performance.
Going back to the racing story though proves to be where the film hits its major climax. There is an elaborately recreated race through the streets of many Italian small towns and rural roadways. Given how narrow these roads are this sequence is particularly suspenseful, leading to one truly horrific crash that is unlike anything ever shown on film before. Seeing this made me wonder if the film would have been better if its primary focus was on the racing, and the Ferrari car itself. What made it such a significant piece of work? How did this whole industry and contest begin?
Don’t get me wrong, I love a good domestic drama but this time Mann seemed to be teetering a bit too much between both storylines. It’s not a bad film just much too haphazardly presented. Fans of cars and racing will be bored by major sections of the film. Those who love a good drama can relish in the rather lengthy opera scene in which characters’ memories are spurred and a lot of personal exposition is provided. So, you see, this is really a collection of two films, for perhaps two different audiences.
Ferrari opens this week.