Mann, working from a superb screenplay by the late Troy Kennedy Martin, stages this story with a masterly intrigue rooted in a lavish authenticity about everything from racing to business to marita…
), the Italian sports-car magnate who needs to win the race , has five drivers who are scheduled to compete. In a kind of calm-before-the-storm ritual, several of them write notes to their romantic partners, telling them how much they love them, just in case they don’t survive the race.
The specter of death haunts the racing scenes in “Ferrari.” That’s part of their intoxicating charge. But it isn’t just the action that’s fraught with thrilling danger. Every moment of the drama moves with a sense of high-stakes dread, of underlying emotional turbulence. I don’t usually like or trust when people describe a film by declaring that it’s “like a ’70s movie,” because I have an instinctive aversion to reducing the qualities of the New Hollywood cinema to a kind of brand.
He started out as an early champion race-car driver , and racing is what he still lives for. Ferrari, we learn, launched his company in 1947, amid the ruins of postwar Italy, and a decade later the sale of Ferrari’s “production cars” — the candy-colored sports vehicles, shaped like sexy alien bodies, that he sells to everyone from wealthy civilians to Jordan’s King Hussein — are what finance the racing.
Mann, working from a superb script by the late Troy Kennedy Martin, stages this story with a masterly intrigue rooted in a lavish authenticity about everything from racing to business to marital discord. It’s like watching “Grand Prix” fused with “The Godfather.” Early on, there’s a scene that sets the stakes and lets us know what sort of man Ferrari is.
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