No one quite stages action as stylishly and superbly as Michael Mann. The moments in this film are horrifically shocking and elicited a gasp from me as the suddenness and the realistic depiction of two race crashes occurred. Unlike Mann's crime films this fits into his biopic oeuvre that has included The Insider (1999) and Ali (2001) and consequently there is an element of needing to have some interest in the subject. Adam Driver completely absorbs the title role of Enzio Ferrari, the former race driver, famed car manufacturer and troubled businessman. Set in 1957 and Ferrari's passion for racing has pushed his business close to bankruptcy and he needs to lure investors and sell more production cars to rich clients. Unfortunately his embittered wife, Laura (Penélope Cruz), controls the assets and she is all spite and anger over Ferrari's womanising complicated even more when she discovers he has a hidden family with Lina (Sharlene Woodley - rather underused in a part with little to do). Ferrari's plan is to win a gruelling 1000 mile road race through Italy and he enters five cars. This race has some tragic consequences. As a drama there are times this film may well test patience and you can feel this is a passion piece for Mann. It's a film much focused on a complicated, selfish man who can casually justify death, his betrayal of his wife and the hiding of a son. Driver and Cruz are excellent throughout and for the most part the film is interesting and has Mann's unique use of facial close ups as well as his wide shots of horror and violence. The race scenes are visceral, gritty and exciting and when the horror comes it hits you like a hammer. Overall, this is a master filmmaker at work so its a must see, arguably not his best but certainly an award contender in many areas.
Sorry this was a bit flat. I don't think I like Adam Driver as an actor. Most of the time he delivers really boring perfomances and this is another one, slightly compacted by a faintly ridiculous accent. Lines are mumbled too here - however I could hear most of the other performers just fine. Penelope Cruz was excellent but most of the time she was locked away in a parallel part of the film - interacting all too rarely with Enzo Ferrari (Driver). The rest of the supporting cast never really gets a look in: characterisation is as follows: Jack O'Connell as Peter Collins wears funny hats and has a realm of 'jolly hockey-sticks'-type expressions, and Patrick Dempsey's Piero Teruffi likes to smoke cigarettes. The life story itself is quite compelling but this one suffers from a miscast leading man and unclear plotting. I had the same problems with Michael Mann's Miami Vice film - muddy and mumbled. I loved Mann's films like Collateral, Ali, The Insider, Heat, and The Last of the Mohicans... Where is that guy I wonder>?
Flat tyres - 3.5 out of 10
Perhaps you need to like noisy cars to like this. Even then, this is a crushing disappointment from the director of such rousing films as Heat and Last of the Mohicans. The subject of the film, as played by a stone-faced Adam Driver, comes over as an unappealing figure and the plot just treads water. It’s 1957 Italy and we follow Ferrari as he tries to make deals to stop his business going broke and deals with problems in his personal life. Nothing much happens until a final 1000-mile road race, which you’d think Mann would at least shoot excitingly, but one noisy car is much like any other and we barely know the drivers so there’s no investment in the result. Plus it’s intercut with yet more financial dealing to blunt any momentum. What a disappointment.
The life of Enzo Ferrari was not exactly one that would make for the most heartfelt inspirational racing biopics akin to Ford v Ferrari or Gran Turismo. It’s a story of affairs, business, egotism, and a brutal car crash. However, it does make for an entertaining drama where you’re not watching with anticipation for Ferrari’s car to win the race but to see how many more cars will fly off the track. NASCAR rules, I suppose.
Michael Mann is the right type of director for this kind of project. He directs Adam Driver to play Ferrari as a man who knows enough of cars, is driven to succeed in business on his own, and struggles to keep his sexual affair behind a closed door. With his sharp look, he favors what will be best for his legacy rather than those around him, be they family or country. It’s why he seeks an affair with the younger Lina Lardi (Shailene Woodley), who can provide a son for him, who he keeps at a distance but still loves. Compare that to the crumbling marriage he has with the bitter Laura (Penélope Cruz), having grown cold since the death of their child. Considering how casually Laura fires guns towards Enzo in their home, things are not looking good at home.
The business side isn’t fairing too well for Enzo, either. He struggles to get his auto business off the ground, trying to find the right merger for his company and the right driver to represent his brand. But that drive ultimately undoes the ambitious racer Alfonso de Portago (Gabriel Leone). Trying to find the best way to stay ahead like Enzo, Alfonso saves time by not changing his tires. This ends up in a significant accident that kills several people, including Alfonso. The eventual continuance of Ferrari as a business is a bitter one.
Mann’s direction leans toward what becomes most appealing in this story. Cruz’s performance is vital as she’s the most critical of Enzo on a business, personal, and sexual level, where she eats up the screen anytime she is present. The car crash doesn’t hold back on the violence, showcasing the bloody, gory, and sickening carnage that unfolds when cars are not adequately maintained. There are stakes here that don’t come off like melodrama.
The part of the film that doesn’t work as well is when the film favors Italian accents in English for the characters. Cruz does a good job, and Driver’s accent is okay here and there. Shailene Woodley, however, sticks out like a sore thumb for her lack of accent, which hinders her performance. Considering how crucial her character becomes to Enzo’s legacy, there are a lot of off moments any time she occupies the screen. Compare her with Cruz's powerhouse performance, which is like night and day and becomes more distracting than the decently shot racing footage.
Ferrari has some kinks in its engine, but it mostly succeeds at portraying the hideous nature of the man behind the most famous cars. The story is kept personal and emotional rather than getting lost in the intricacies of business or the thrill of racing. There should be some warning here for those hoping this is on the same level as Dadcore as Ford v Ferrari. It’s not a love letter of that sort, and it’s sure to leave even more disgust for the company’s legacy than that aforementioned film. It’s a mixed bag of performances that becomes mildly intoxicating for a story worth telling, warts and all.