Though Michael Mann's ability with an overlapping web of actions remains unmatched, his biopic bobbles its focus. Our Ferrari review:
The voices are unattached, floating in and out of Enzo’s life with disconcerting clarity. The specifics of this haunting are withheld, but perhaps they are confronting him with the same name that the audience is immediately bombarded with in those first 30 minutes: Jean Behra.
As Laura, Cruz embodies a fiery erraticism–like a permanently sharpened ax, ground to a razor’s edge, emitting sparks that instantly evaporate. Cruz and Driver are an odd pairing; one explosive and slick, the other elusive and cumbersome, but they relish the challenge of making this relationship feel real, spitting arguments at one another with vitriol steeped in regret. The Ferraris upend any tired notion of “behind every great man there’s a great woman.
Together they wrestle the Ferrari company into a shape that will sustain financial growth, building cars designed to be lighter, go faster, reach farther. Mann successfully translates such ambition, making the jagged functionality of cars feel near and undeniably cool, yetfails to invest enough time in its supporting cast, wielding them as puppets for Enzo’s overwhelming ambition. In doing so, Mann loses the stakes of the story, pressure seeping from every potentially dangerous race.
As with all of Mann’s big, loud and long films, the violence and noise conceal a simple, if melodramatic, love story.is that, although it never quite settles on the subjects of the love story. Is it between Enzo and Laura? Enzo and Lina ? Enzo and cars? Enzo and his sons? Such an inconclusive perspective suggests that writer Troy Kennedy Martin struggled to wrestle the unwieldy source text into a complete person.
Biopics must capture a person in a few hours, wrestling something huge and expansive into a container with defined curves and edges. It is an impossible task that Mann tries to manage before growing distracted by the glitzier, more dramatic elements of Ferrari’s life. The filmmaker dedicates the runtime time to a few, brief and bloody moments that cemented Ferrari’s success, making something that feels appropriately action-packed, if thematically underwhelming.
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