Ferrari

Ferrari is a very flawed but stylish film that eventually becomes more satisfying as it carries on. It’s one of those uneven films that ends up scaping by with many strengths in terms of performance and execution. Despite a sluggish build-up, Ferrari finally ends up igniting as the narrative progresses. Released just 4 years later from James Mangold’s Ford v. Ferrari that was from the Ford Family perspective, Michael Mann delivers a unique biopic of Enzo Ferrari. The film’s setting takes place during the course of a few months in 1957 instead of years, right when the Italian automaker mogul’s private and professional life was at a crossroads. With a far stronger second half, Mann’s film avoids the episodic biopic structure and brims the film with some impressive racing sequences and a rich perspective with some fresh insights into automotive history. The bravura performances by leads Adam Driver and Penelope Cruz also anchor the film, and their exchanges together prevent the film from feeling overly cold, so some of the narrative is dramatically inert.

In a late-career run and his first film since the mediocre Blackhat in 2015, Mann is determined with his subject matter, finally casting Adam Driver as the lead to play the larger-than-life character where many named actors such as Christian Bale and Hugh Jackman had to drop out due to scheduling conflicts and funding issues. Mann is no stranger to biopics and true stories; he has dealt with them before, most notably with The Insider (1999) and Ali (2001). Mann carries on his grandiose vision and intoxicating directorial style that dovetail well with that of Enzio Ferrari, much of which he puts his finances and reputation into making the fastest car in the world. Many others believe in his vision as well, with race car drivers willing to jeopardize their own safety and even lives to drive his dangerous but powerful racecars.

Courtesy Neon

I’m not sure how successful this film would have been, as it nearly derails but is anchored by the commanding work of Adam Driver, who plays the titular role of Ferrari. He has done the whole Italian accent before with House of Gucci, but his performance feels more grounded. Aged up by a few decades with slick-back hair, dark sunglasses, and an elegant wardrobe, he is a man of genius and persistence. We first meet Ferrari; he is at a standstill. His vehicles aren’t selling as well as they once did, and if he doesn’t meet a quote, the whole company that he co-owns with his wife, Laura (Cruz), can go bankrupt.

Enzo and Laura are still grieving the loss of their son, who died from a muscular disease. Meanwhile, Enzo has a secret family on the side with his mistress Linda (Shailene Woodley), who raises their secret son. Laura has agreed over time that Enzo can be with other women, but he must be home before the maid brews their morning coffee. Enzo’s double life ends up being exposed once he breaks that rule. Laura is still grieving over the loss of their son, and she becomes even more distraught once she discovers that he has another son, which inflames her anguish even more, and she pleads that he must not have the Ferrari last name.

Off and on the track, Enzo finds himself with a lot of anxieties and pressures. With an upcoming 1,000-mile race across Italy’s countryside, Ferrari ends up putting the company’s stock and company earnings against competitor Maserati. It becomes a massive risk for Enzo and company, even putting Laura’s money on the line, which can destroy her lifestyle.

Courtesy Neon

All of Mann’s stylistic flourishes and sensibilities are on display with an atmospheric setting, beautiful camerawork, and a great use of music with sweeping set pieces. Even though there is a lot to admire, the screenplay by Troy Kennedy Martin leaves a lot to be desired. While Cruz and Driver hold great scenes together, much of the other drama going on feels bland. We are introduced to his band of auto drivers, but they are very lightly sketched, and when the racing sequences occur, there is little emotion to find. The film also feels like a “dressed-up” movie where the camera seems to draw a lot of attention to the Italian artistry, which pulls attention away from the narrative. Mann does stage some breathtaking racing sequences, and the car accidents involving the writers are some of the most unsettling car accidents I ever saw staged in a film, including a very tragic mayhem that resulted in several causalities after someone attempted to sabotage the race by placing a sharp device on the road to slash Farrari’s car cruising by.

The human drama in the film is also intermittent. Woodley is very miscast and doesn’t quite rise to the occasion; it doesn’t help that her character is also underwritten and sidelined. Which leaves the cream of the crop of the film, and that is the exchanges between Cruz and Driver, who electrify each other each time there is on-screen time. You can see Driver’s screen presence intensify each time he shares the screen with Cruz, who brings so much mastery to her performance. Her role as Laura is that of a woman of hurt and regret who stands up for her plight when Enzo gets lost in words from the dispute.

Courtesy Neon

This is the world where innovation and mad genius trump all, including money and wealth, and prosperity comes after the risk. Driver inhabits this world as a powerful, determined, sometimes vulnerable man who tries to play peacekeeper and innovator, but forces outside of his control bring greater misery for him and to those who love, respect, and trust him. Ferrari may not ignite on all levels, but it’s mostly an enjoyable film that, despite its flaws, illuminates Ferrari and his genius.