Michael Mann’s hot car biopic has some hot performances.
“Ferrari” is Michael Mann’s first movie since “Blackhat,” which I thought was empty at the time. This one is better than that film, because of how he’s interested in a portion of the story of Enzo Ferrari, the former racer and genius behind the cars, who is portrayed with grey hair by Adam Driver. and this portion takes place in before and during the 1957 Millie Miglia. But mostly, we’re interested in the Enzo’s wife Laura, who is portrayed powerfully and Oscar-worthy by Penelope Cruz. The screenplay seems convoluted and underdeveloped at times, but it’s the direction that matches the performances and the scope in the movie.
We see Enzo dealing with his and his wife’s company own the verge of bankruptcy, the loss of their DMD-stricken racer son Dino has died from DMD, and their marriage on the brink of destruction. The kind of destruction that would make her want to shoot him with the gun he gives her for protection. She missed.
They built this company together, and she blames him for their son’s terminal illness, so it’s obvious why these two would begin to lose their magic together. Pathos can destroy a couple’s chemistry.
His only hope of getting his company back on track is to enter his racing team in the Mille Miglia. They include professional newcomer Alfonso de Portago (Gabriel Leone), and vets Piero Taruffi (Patrick Dempsey), Peter Collins (Jack O’Connell), Wolfgang “Taffy” von Trips (Wyatt Carnel).
During the war, he had an affair with Lina Lardi (Shailene Woodley), which resulted in him having another son named Piero. They haven’t married, for obvious reasons which his wife can’t know about, which is why they haven’t confirmed the boy’s official last name. Lina regrets this whole affair, especially since Laura lost Dino, and wants what’s best for Piero. “Who speaks for him?,” she asks.
Laura begins to suspect his affair with Lina, which disgusts her. This would be the film’s best argument, because of how she expresses her anger for his immoral choices. How would any woman react to affairs of any sorts? I can’t say I’ve been in a situation like this, but I have seen them on camera, and these angry women know how to use their words and hatred.
The movie tends to get graphic when de Portago’s tire burst, resulting in himself getting split in half and killing ten spectators during the race in a Guidizzolo village. That’s right. Children were also killed in this tragic accident, and it’s disturbing. The emotional weight of the aftermath is more realistic than the lousy CGI effects that present it. I think we were better off without that scene and had to have these characters talking about the horrific accident.
“Ferrari” is an independent movie made by a brilliant filmmaker like Michael Mann. The poster and word-of-mouth had me interested in watching this film, and while I have my reservations within the screenplay, it still has its qualities worth watching.
Driver is a fine actor, and he does a much better job portraying Enzo Ferrari than he did as Maurizio Gucci in Ridley Scott’s “House of Gucci.” He looks stylish with the hair and built, and he knows how to get inside this character and see how he really really functions.
When Cruz is drawn with the right tone, she can merge her emotions with Laura. And when she uses her anger, it’s proof she is an actress who has the best of luck in the independent circuit. These two actors form the best chemistry in the film and their characters are at the ends of their ropes.
Even though it needs an oil change within the narrative, “Ferrari” is an attractive film with fine performances and some amazing shots, photographed by Erik Messerschmidt (“Mank,” “Devotion,” “The Killer”). It sounds like I’m going around in circles, but anything is better than a car boot.
In Theaters Christmas Day