Ferrari (2023) | Review

"Unleashing the Thrills: Adam Driver and Penelope Cruz Shine in Michael Mann's Captivating Exploration of the Racecar Impresario in 'Ferrari'"

The vibrant hue known as rosso corsa, or "racing red," serves as the essence of Ferrari in Michael Mann's captivating portrayal of the pivotal summer months in 1957. During this time, the renowned Italian car manufacturer teetered on the edge of financial ruin, compelling its founder, Enzo Ferrari, to confront the dual lives he had been leading, divided between his wife and his mistress. This striking color became inseparable from the sleek machines crafted by the company for the racetrack, their bonnets proudly displaying the emblematic prancing black stallion. Moreover, it symbolizes the intense competitive spirit that flows through the veins of the man himself, as exemplified by Adam Driver's commanding performance.

Neon's upcoming release, Ferrari, is set to hit theaters on December 25th in the United States. Directed by Mann, this film exudes an unapologetically masculine energy, much like his previous works. It captivates viewers with its visceral nature, particularly during exhilarating race scenes where the engines roar and the cars speed around the track or along open roads. However, the screenplay, penned by Troy Kennedy Martin and based on the biography Enzo Ferrari: The Man, The Car, The Races, The Machine by motorsports journalist Brock Yates, also delves into the personal struggles faced by its protagonist during the summer of 1957. This balanced approach offers audiences a glimpse into the complex world of Enzo Ferrari beyond his racing endeavors.

The decision to focus on a specific period in Ferrari's history rather than attempting to cover the entire lifespan of the company was a wise one, as it allowed for a more intense and focused exploration of the factors that shaped the future of the iconic brand. This approach creates a sense of tension that permeates both the racing scenes and the more personal moments, providing a glimpse into the life of a man who is often seen as distant and unapproachable. Despite the fact that the domestic scenes may not be as thrilling as the racing sequences, they offer a rare opportunity to see Enzo Ferrari in a more intimate light, revealing his sharp wit and no-nonsense approach to business. 

In his portrayal of Enzo Ferrari, Driver brings a sense of gravitas and intellectual depth to the role, highlighting the man's obsessive attention to detail and his unwavering commitment to excellence in design and handling. While there may be echoes of his recent turn as another Italian power player in House of Gucci, Driver manages to avoid any sense of campiness or caricature, instead delivering a nuanced and nuanced performance that captures the essence of this legendary figure. With his shock of silver hair and his trademark sunglasses, Enzo Ferrari is a commanding presence on screen, and Driver rises to the challenge of bringing this complex character to life.

Enzo's journey to the pivotal moment portrayed in this scene is succinctly outlined, commencing with monochromatic mock-newsreel footage of him donning goggles while steering an Alfa Romeo with fervent determination during a 1920s race. Shortly thereafter, he diverged from his racing endeavors and redirected his focus towards overseeing a Formula 1 racing team and manufacturing his own vehicles for the sport. This backstory provides a concise yet comprehensive glimpse into Enzo's transition from a passionate racer to a multifaceted figure in the world of motorsports.

In the mid-1950s, the demand for Ferraris was surpassing the available supply, creating immense pressure on Enzo to enhance productivity at the manufacturing plant he and his wife Laura established in Modena. The significance of the automotive industry in the Northern Italian city was evident during a Mass, where a priest delivered a sermon highlighting the role of metalworkers in constructing engines that propel us through the world. With the company facing financial difficulties, Enzo's financial advisors urged him to seek an investment partner, but he hesitated due to concerns about relinquishing control to a major corporation like Fiat or Ford.

The negotiation process was further complicated by the fact that Laura, who possessed business acumen, held the majority of the company's stocks and owned the plant's freehold, which she utilized as leverage. Their marriage was strained following the tragic loss of their only son, Dino, to muscular dystrophy at the age of 24 the previous year. Laura's animosity towards her husband's infidelity intensified when she discovered, seemingly late, about his long-standing relationship with another woman named Lina Lardi, which had begun during the war years and resulted in the birth of a 10-year-old son.

During a captivating rendition of La Traviata, Mann skillfully revisits Enzo's fond memories from his past relationships with both women. The movie, although filled with imperfect Italian accents, requires viewers to embrace them in order to fully appreciate its essence. However, Woodley's portrayal feels out of place, not solely due to her lack of Italian heritage but also because her scenes appear to be the least compelling. In these moments, Mann slightly deviates into unfamiliar melodramatic territory as Lina's impatience grows, yearning for Enzo to officially recognize their son. Cruz offers a wider range of textures to explore. Laura's fury boils over as she fires a warning shot at Enzo for repeatedly disrespecting her by failing to return to their apartment before the maid arrives each morning. Despite her unkempt appearance, her face bears the marks of deep-seated resentment, though occasional glimpses of the passion that once defined their marriage still flicker to the surface.

Cruz experiences a surge of wounded anger when a bank employee accidentally discloses the company's acquisition of a property. Laura, on the other hand, orders her driver to take her to Lina's villa in the countryside near the town. Her face betrays a mix of emotions as she picks up a toy racecar and realizes that Enzo has fathered another child, a discovery that stings even more after the loss of their own child.

While the entire narrative is captivating, Ferrari's essence lies in the grand race, where Mann's masterful technique comes into play and cinematographer Erik Messerschmidt's cameras immerse us in the experience of being behind the wheel or in the path of the speeding roadsters, creating a thrilling effect. The Mille Miglia competition takes place on a 1,000-mile stretch of open road across Italy, passing through ancient towns with streets lined with hay bales to protect buildings and spectators, as well as picturesque countryside. One particularly awe-inspiring scene showcases the cars zooming through a vast mountain pass. The inclusion of Italian locations, such as Modena, adds to the overall appeal.

Enzo enrolls five drivers in the race, recognizing its significance in attracting the right investor. He places his hopes particularly on three of them: Italian veteran Piero Taruffi (played by Patrick Dempsey), confident British driver Peter Collins (played by Jack O'Connell), and ambitious Spanish newcomer Alfonso De Portago (played by Gabriel Leone). The relationship between the latter and actress Linda Christian (played by Sarah Gadon) epitomizes the glamour associated with the sport, which Enzo views as a distraction.

Enzo, the driver in the film, cleverly manipulates the pilots by giving them individual encouragement while secretly pitting them against each other. However, he is also acutely aware of the risks involved in motorsports, having lost two of his drivers to fatal accidents. The Italian press has even given him derogatory nicknames such as "widow-maker," "assassin," and the most poetic of them all, "Saturn devouring his children." Despite this, Enzo remains a complex and intriguing character, adding depth to the film's narrative. The movie's intense and thrilling set-pieces more than make up for its somewhat abrupt conclusion, making it a fascinating prequel to Ford v Ferrari.

Pietro Scalia's dynamic editing adds an element of unpredictability to those scenes, while Messerschmidt's impressive camerawork creates the illusion of being immersed in the tarmac. The sound design further enhances the visceral experience. Daniel Pemberton's score, whether propulsive or emotional, effectively maintains a brisk pace throughout the two-hour-plus runtime. Although Ferrari may not be considered one of Mann's iconic works, it lacks the shimmering, edgy style that characterizes his best films. However, fans of the director's intense and powerful filmmaking will not be disappointed.