Ferrari is a near perfect film that is sure to shine this awards season. Adam Driver delivers an incredible performance that will not soon be forgotten.
His first film since 2015’s Blackhat, Michael Mann is back in the director’s chair this time with Adam Driver leading the charge as Enzo Ferrari and Penélope Cruz as Laura Ferrari. Based on the novel Enzo Ferrari: The Man and the Machine, Ferrari was screened at The 61st New York Film Festival and was not only a great film but one that had us leaving the theater in utter disbelief.
Of course the story is one based in real life and with that it was great to see director Michael Mann decide to film in where the real life events were based, Modena, Italy. Shooting the film on site was a choice that shined through the entirety of the film’s runtime – from the amazing sets to setting designs, Mann and the production team did an amazing job in immersing the audience into the time frame the film takes place during. In addition to this the costumes helped layer every performance in the film. The relationships observed in this film are essential to the purpose Mann is trying to communicate, the relationships work so well because of the different sets and emotional correlations Mann presents on a visual level.
Adam Driver’s look as Enzo Ferrari is amazing but through the entirety of the film it stays constant – on the other hand his two ‘love interests’ have not only ever evolving costumes, but the sets they are placed in also convey so much story. Aside from physical storytelling, the filmmaking in this movie isn’t as unique as one may think. As we’ve seen from Michael Mann’s career in Heat, Collateral, etc, Mann is able to introduce a directorial flare without any over-exaggeration, in Ferrari he sprinkles in just enough flare to make it interesting but still fails to find a visual identity for the film.
On a technical note, Mann is known for his digital filmmaking flare and here he succeeds in that specific aspect. Being filmed on a Sony Venice 2 he goes full digital, this works in so many settings with color gradings carrying through and bringing the scenes together – sadly though the tonal inconsistency bleed through with the filmmaking. For example, the opening of the film is knowingly silly, other moments that are crowd silencing are shot well, but then the film cuts to something uncanny or too practical effect looking which ruins some tonal tension. This is not as much the fault of the technology in use, but more the pairing of technology.
In correlation with the shooting choices is the editing and though the filming didn’t feel as extravagant, the editing was top notch. The racing sequences, even the ‘testing car’ scenes, were absolutely visceral. It is abundantly clear that the cars are unsafe and the death rate for these drivers is so high, and the editing truly conveys that idea. The fear of being in that drivers seat is translated to the audience with not only the perfect cuts but sound design that will make you flinch.
Without giving any spoilers away there is a final moment in the film where the entire theater gasped, went silent, and gasped again. A collective crowd silencing moment that was a perfect blend of so many effects. Sadly, prior to this moment and even moments following are filled with interesting filmmaking moments but never moments that line up with each other tonally. From long distance, subject-less vertigo shots to corny over the top cg wrecks, Mann knows how to pull off these interesting yet wild sequences, he just struggles to pair them together.
Aside from a few technical gripes this film is nearly perfect. Circling back to the relationships and story, Adam Driver drives this film to the finish line. The costume design is absolutely impeccable and though his accent may throw you off at first, he completely immerses himself into this role and at a certain point it would be weird to see him as his regular self. Beside him is Penélope Cruz as Laura Ferrari and Gabriel Leone as Alfonso de Portago. Penélope’s role in this film is one that evolves into the emotional crutch of the film but she takes it head on.
Ferrari at it’s core is the study of a relationship and we’ve seen Adam Driver in a dynamic before but Penélope brings a great new side to it – with less time on screen she leaves a lasting impact for future scenes in the film and by the end contributes a great deal of the emotional blow. Gabriel Leone is also in a smaller supporting role, but one essential to the film. This is my first time seeing him in a film and though he didn’t have any scenes to directly show off his acting chops, he did show a great amount of range in essential moments of the film and I hope to see him in more roles down the road.
Aside from a handful of tonal inconsistencies, Ferrari does stand out as one of the best films from this year’s New York Film Festival and when it releases this December it will most definitely have awards attention on it.
Rating: 8 out of 10
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About Ferrari
It is the summer of 1957. Behind the spectacle of Formula 1, ex-racer Enzo Ferrari is in crisis. Bankruptcy threatens the factory he and his wife, Laura built from nothing ten years earlier. Their volatile marriage has been battered by the loss of their son, Dino a year earlier. Ferrari struggles to acknowledge his son Piero with Lina Lardi. Meanwhile, his drivers’ passion to win pushes them to the edge as they launch into the treacherous 1,000-mile race across Italy, the Mille Miglia.
Ferrari Hits Theaters Christmas 2023.
Aryan is an aspiring content creator and journalist who loves all genres of movies. He is passionate about discussing and having conversations about anything and everything pop culture related.