Ferrari (2023) Review!!

Synopsis – Set in the summer of 1957, with Enzo Ferrari’s auto empire in crisis, the ex-racer turned entrepreneur pushes himself and his drivers to the edge as they launch into the Mille Miglia, a treacherous 1,000-mile race across Italy.

My Take – Known for his distinctive film-making side, there is indeed no doubt that filmmaker Michael Mann is a cinematic auteur. With his talents on display particularly in films like Manhunter (1986), Heat (1995), The Insider (1999), Ali (2001), Collateral (2004) and Public Enemies (2009).

And although he seemed to have missed the mark with Miami Vice (2006) and Blackhat (2015), they too, reveled in his visual style, have found their reputation improve in the subsequent years. Plus, considering his films usually take place in the glitzy world and their seamy side, this inside look into the famous Italian founder of the car manufacturer Ferrari S.p.A., makes him a natural fit to helm.

Based on the 1991 biography Enzo Ferrari: The Man, the Cars, the Races, the Machine by motorsport journalist Brock Yates, the film doesn’t unravel the entire story of the Italian automaker from start to finish, but rather expands upon the challenges faced by its founder, Enzo Ferrari, in a particular year that was somewhat of a turning point for both the man and his beloved company.

The result being incredibly compact and satisfying scorching melodrama that burns with the intensity of its titular character’s relentless ambition. Imbued with sumptuous colors and cinematography, the film splits itself between the characters’ drama and the car manufacturing and racing aspect.

And for every moment of scenic beauty there is a bruising acting showcase between two personas and vehicle racing sequences that demonstrate all things speed kills. It’s rather cold and calculated, as only director Michael Mann would require it to be. A concoction of ambition, pain, desire, and death.

Sure, he takes some creative license by having the characters speaking English with Italian accents, yet doesn’t really take us away from the drama and instead marks a welcome return for one of the greatest from the industry.

Set in the summer of 1957, the story follows Italian entrepreneur Enzo Ferrari (Adam Driver), who has a lot on his mind. His wife, Laura (Penelope Cruz) is still mad with grief over the death of their only son, Dino, who passed a year prior. His mistress Lina Lardi (Shailene Woodley), wants him to grant their illegitimate son, Piero, the Ferrari name as his confirmation nears.

The thousand-mile Mille Miglia race is fast approaching and he has hired a new driver, Alfonso de Portago (Gabriel Leone), after the last one got himself killed, but he seems to be always distracted by his movie-star girlfriend Linda Christian (Sarah Gadon).

But most importantly, his accountant has just informed him that his company is broke and that he needs to get a wealthy corporate partner to stay in business, something which can happen only if one of his cars wins the upcoming open road endurance-based race, a situation, his main competitor Maserati owner Adolfo Orsi (Domenico Fortunato), also finds himself in, but with a better team of racers. With each decision significantly impacting every facet of his life, blurring the lines between his personal and business endeavors.

Indeed, director Michael Mann and writer Troy Kennedy Martin (The Italian Job) have chosen a very interesting and unconventional part of the true story to adapt. Instead of going for a conventional underdog story it’s a much more intense and interesting film that shows how ambition desensitizes someone to the tragedy that surrounds them.

Portraying a raw, unflinching exploration of Enzo Ferrari’s inner demons, where the pursuit of automotive excellence takes a brutal toll on personal relationships and those around him. Being a maestro of visual storytelling, here, director Michael Mann takes his time to develop the main characters into real, feeling people, complete with all the usual emotional baggage like grief, jealousy, and resentment.

We particularly feel the stifling tension that exists between Enzo and his estranged wife and business partner Laura. The film pulsates with a kinetic energy, whether it’s the sweat-soaked roar of the racetrack or the dimly lit tension of family dinners. Every frame is meticulously crafted, drawing us into Enzo’s world of high-octane stakes and simmering resentments.

The racing sequences themselves are electric, by getting as close as possible, the speed and danger are definitely felt. It all culminates in a horrifying crash in which the lack of sound makes it even more impactful, especially considering the grotesque tragedy involved nine members of the public, four adults and five children.

Yes, the film holds a few slight flaws, yet deserves praise for its portrayal of the corrosive nature of unchecked ambition. In the sense, Enzo’s quest for greatness isolated him and pushed him to the brink of self-destruction. The film doesn’t shy away from the ethical compromises and personal tragedies that fuel his success, forcing us to grapple with the darker side of the great man narrative.

Of course, it helps that Adam Driver breathes life into his performance and does a fine job of projecting Enzo’s strong-headed determination, as well as his weaknesses, eccentricities, and mannerisms. In comparison, this may not be in the upper tier of his work but this is still terrific stuff, and the accent is better here than in House of Gucci (2021).

However, it is Penélope Cruz‘s turn as the chilling and captivating Laura that is the real star of the show. Given a role that is usually pretty thankless in this genre, Cruz is throughout terrifying even when she is not saying anything. Shailene Woodley on the other hand, isn’t given much to do and is decent enough.

In supporting turns, Daniela Piperno, Gabriel Leone, Jack O’Connell, Domenico Fortunato, Sarah Gadon and Patrick Dempsey are strong. On the whole, ‘Ferrari’ is an intense, vibrant and emotional biopic containing strong characters and great performances.