Michael Mann, a master at delving into the complexities of challenging characters, takes on the task of unraveling the flaws of Enzo Ferrari in his latest film, aptly titled “Ferrari.” Throughout his career, Mann has been drawn to exploring the intricate personalities of men facing challenges, and Enzo Ferrari, a man driven by the desire to triumph in the race of life, becomes a compelling subject for Mann’s lens.
In “Ferrari,” Mann paints a vivid portrait of a man who clings tightly to speed records and obsessively refines vehicle specs, all in pursuit of gaining a mere half-second advantage over competitors. The film portrays Ferrari as a character never content, constantly aware that a split second could lead to disaster. What sets Mann’s film apart is not just the mental race within Ferrari but the subtle feeling that something is slightly amiss within the human vehicle, foreshadowing an impending tragedy.
Adam Driver delivers a stellar performance as Ferrari, overcoming any reservations about his Italian accent. Driver’s portrayal humanizes Ferrari, a man caught between personal and professional struggles, skillfully depicted in Troy Kennedy Martin’s nuanced script. The film subtly builds towards an inevitable disaster, portraying Ferrari as the human embodiment of his high-speed machines, desperately avoiding a crash.
Despite Ferrari’s ruthless genius, Mann explores his vulnerabilities, presenting him seeking counsel from his deceased son and being hailed as a hero by his people. The pressure of perfection is palpable, leading to emotional distance in Ferrari’s world, where everyone, including drivers, lovers, and employees, is disposable. Driver skillfully captures Ferrari’s attempts to hold onto affection for the two women in his life, played by Penelope Cruz and Shailene Woodley.
Set in 1957, as Ferrari approaches 60, the film follows his struggles to maintain control of an industry he revolutionized. Battling bankruptcy and facing internal conflicts, Ferrari grapples with his legacy, the loss of an heir, and the challenges of being a modern-day icon. The film’s impeccable craftsmanship, from cinematography by Erik Messerschmidt to the masterful editing by Pietro Scalia, elevates “Ferrari” to one of the most well-made films of the year.
While the film occasionally delves into financial concerns, it is a minor critique for a drama that deserves more recognition in the competitive end-of-year season. As history tends to separate forgettable films from those deserving acclaim, “Ferrari” emerges as a compelling cinematic journey, exploring racing, legacy, and the inherent imperfections of a man driven by the relentless pursuit of victory.