Ferrari (2023) film review

Ferrari Film Review

The story primarily unfolds in 1957, focusing on a tumultuous period in Enzo's complex life. Despite being sought after by everyone, including a king eagerly awaiting in his office, Enzo seems singularly devoted to his prized racecars – sleek, red machines that thunder out of his Modena factory and compete in the world's fastest and most perilous races, breaking records and sometimes bodies in the process. The film captures a pivotal year in the life of this larger-than-life character and his passion for creating racing marvels.

The best movie delves into what fuels the cars and the man behind Ferrari. It kicks off with a young Enzo (played by Driver) racing with exhilarating speed and almost soaring in the air. The lively jazz in the background adds a charming vibe to the scene, making you want to hop into Enzo's car yourself. His rare smile during this moment is a glimpse into his character.

As the story progresses, we shift to an older Enzo, now dealing with financial troubles and the complexities of managing two households with very different women. One of them expresses her frustration by shooting at him, grabbing his attention in a rather dramatic way.

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Death is a constant presence in Enzo's life and the movie as a whole. Despite the intricate storytelling, the film picks up momentum, skillfully handling various aspects of Enzo's life and the conflicting elements within it. The screenplay, penned by Troy Kennedy Martin and inspired by Brock Yates's 1991 biography, condenses the carmaker's life into a concise yet impactful period. This includes exploring the contrasts in his life, such as his two sons – one alive and one deceased – and the dichotomy between the road cars he sells and the racecars that consume his passion.

The movie, much like Enzo's life, swings between different styles, shifting from intense family drama to thrilling moments on the racetrack. Director Mann dedicates significant time to Enzo's complex personal life, divided between a dark mansion in Modena, shared with his wife Laura (played by Penélope Cruz) and his imposing mother, and a peaceful farmhouse where he escapes to be with Lina Lardi (Shailene Woodley) and their son, Piero.

While Mann attempts to broaden the scope by exploring Enzo's relationships, it's the dynamic with Laura that truly captivates. Woodley's portrayal of Lina is decent, but the character lacks depth and is mostly confined to the bedroom or kitchen. Despite the couple's struggles, their relationship feels ordinary, perhaps too content for the director's liking. Lina and Piero serve as a contrast to Enzo's troubled marriage, providing a more easygoing perspective.

Cruz's effort to portray a frumped-up Laura for her troubled marriage doesn't quite succeed. Laura remains glamorous, resembling the iconic Italian actress Anna Magnani. However, Cruz skillfully brings complexity to Laura's character, revealing layers of sardonic bitterness, barely contained rage and faded humor. Through Cruz's performance, we glimpse the strength and intelligence of a woman integral to building the Ferrari brand and its legend, despite the challenges she faces.

Driver does a commendable job of letting you glimpse into Enzo's character, although his warm and decent personality doesn't quite align with the cool and self-centered nature of his role. Enzo, like many of Mann's protagonists, is a stern and hardworking individual, often appearing ready for confrontation. This intensity adds an edge to the characters, making them intriguing without falling into the trap of being one-dimensional villains.

Enzo exudes intimidation, with occasional threats and a constant reminder of his driven and conflicted nature. However, his intensity seems more driven by power than passion, as he clings to an established enterprise rather than building it from the ground up. While there are attempts to humanize Enzo, such as a thoughtful scene where he quietly maneuvers his car to avoid waking his family, the true revelations come when Mann skillfully dissects moments like Enzo driving off, focusing on his hands working the wheel and gears, and his feet dancing on the pedals.

Mann's expertise behind the wheel shines in the thrilling racing scenes. Whether it's drivers like Gabriel Leone, Jack O’Connell, or Patrick Dempsey tearing around a track or speeding down an eerily empty country lane, Mann captures the heart-pounding action from every angle. The immersive shots, including cameras both inside and outside the cars, close-ups of focused faces, and dynamic midair shots, create a visceral experience that resonates deep within as the engines whine and roar. Enzo, once familiar with this sensation, is now the overseer, commanding the race with his stopwatch.

While Enzo outwardly appears to fit into Mann's collection of troubled and tormented characters, there's a struggle to connect with him on a deeper level. The issue lies in the fact that Mann is in search of a character with a soul, not just a professional calling. In an attempt to bridge this gap, Mann frequently zooms in on Enzo's face in extreme close-ups, where the auto maker's visage takes over the screen, mirroring his dominance in life. These shots convey Enzo's isolation from the world around him, filled with both the living and the needlessly deceased. Although you get an intimate look into the character's head, the filmmaker, rather than the character himself, becomes the captivating force, especially given the glimpses into Enzo's inner world and the havoc he wreaks.