Ferrari

2023's FERRARI is easily Michael Mann's finest work in the past twenty years.  A return to form that for me was so intoxicating I could overlook any shortcomings in the screenplay, which was based on Brock Yates' 1991 Enzo Ferrari: The Man, the Cras, the Races, the Machine and penned by Troy Kennedy Martin, who passed in 2009.  A long held project for a director fond of biopics (ALI, PUBLIC ENEMIES).  Mann's artistry is hard to put into words, as mere adjectives fail to put across his rhythm and flow when things are working.  Sometimes to transcendency (THIEF, HEAT).  Mainly, he shows, not tells.  Trusts the audience to make connections and discern inferences.  Mostly visually, though also through exemplary sound design.

Enzo Ferrari (Adam Driver) finds himself in 1957 with a nearly bankrupt business and a severely bitter and possibly homicidal wife, Laura (Penelope Cruz).  Their son (and heir to the Ferrari legacy) Dino has died.  Laura knows her husband has lovers but is quite unaware he has another son with his crosstown mistress Lina (Shailene Woodley).  Enzo is portrayed as a deeply introspective and self absorbed individual.  And yes, driven.   Constantly acknowledging his cars are for racing, leading to Ferrari's participation in the Mille Miglia, a thousand mile competition over country roads.  

Before we get to the race, which is excitingly and meticulously filmed in the Third Act with real 335 S and 250 GTs, Mann and cinematographer Erik Messerschmidt compose a litany of art.  Strikingly designed and lit interiors that often look like paintings.  There seemed to be a conscious effort to emulate THE GODFATHER in look and tone, which at times is successful.  Less so is the screenplay's consideration of family business, though when Enzo and Laura (essentially only business partners by this time) broker deals with each other we could make feasible parallels with the Corleones.

The leads are splendid.  Driver, who's had an impressive career working with many impressive directors, delivers a mature and reserved performance.  Cruz counters with appropriate fire and was excellent, though she didn't entirely convince as an Italian.  But either way, criticisms leveled that real Italians should've played these roles is just foolish and narrow minded.  Good acting is good acting.  

But I'm sad to report that Woodley was less than stellar, and saddled with a half-hearted accent.  Her role was quite underwritten.

FERRARI will be far too slow and quiet, somber and low key for many viewers.  Mann keeps the relational dynamics from edging into melodrama, a pleasant surprise.  The film's merit derives mainly from the director's style, one all unto himself.  I believe he could make almost any subject as other worldy compelling as he has the world of Ferrari.

P.S. - The wreck seen during the Mille Miglia is one of the most brutal and jaw dropping (even in CGI) to be found in a movie.  A woman sitting a few seats over from me was close to hysterics.