I'll get this phrase out of the way early, because otherwise it'll plague this whole review: "they don't make movies like this anymore". Ford v. Ferrari (or Le Mans '66 as it's known in Ireland and I absolutely refuse to call it) does have that old-fashioned, very 70s appeal. High star wattage, focused, lean filmmaking, and a sensible, practical approach to storytelling. I won't say that this kind of film isn't getting made at all now, but the bravura filmmaking and honest sensibility of stuff like One Flew Over the Cuckoo's Nest and The Deer Hunter is largely missing on that level of quality. There's still mid-budget, relatively lowkey awards-bothering dramas being made, but too few of them are coming out in the mainstream, or putting enough emphasis on that uniquely big screen style of storytelling, or being on the same level of quality as the more experimental fare. That's a real shame too, because although film is absolutely excellent now, it still does feel like that serious, mature, high quality kind of drama is kind of absent when people talk about the best films of a given year. But James Mangold, fresh off of Logan, seemed to be set to remedy that. Did he succeed?
Well, at the risk of spoiling my verdict, yeah, he did. Ford v. Ferrari is a great blend of old-fashioned thrills and new technology, providing race sequences that thrill and electrify without sacrificing the substance. The tone is handled so well here, evoking an honest-to-goodness, old school style without feeling dated or dewy with nostalgia. The film revolves around Ford's attempt to win the 24 hours at Le Mans, particularly focusing on Matt Damon's ex-racer Carroll Shelby and Christian Bale's obsessive, intense driver Ken Miles. This is a film that nails its fundamental aspects and uses them to their fullest. I think there are two crucial components in this movie; the lead performances and the racing sequences, but both work on such a level of quality that they elevate absolutely everything else in the film and make it work. Damon and Bale are reliably fantastic, and their honest, earnest performances are really what drive this film and keep you invested. See, the film is built on one central idea: the feeling of being in that car, of racing and letting go of everything. The film weaves this into the two central arcs, and puts it front and centre of the drama and the action
Matt Damon is ace as a man who seeks to recapture the feeling, getting these great quiet moments where he exudes longing and determination. His combatting of corporate stuffiness is familiar stuff but it stills feels relevant, especially now, and particularly because this is the first Fox film being released by Disney. That kind of makes Shelby's struggles against corporate fiddling hit harder, and even if that feels a little well-worn, it's not impossible to apply the idea of a filmmaker and his creative struggles on top of this story of a man trying to do what he knows the way he knows is right in spite of the committees above him who think they know better. This part of story is done quite well, and Damon sells Shelby's earnestness, which is something that I don't think this story would have worked without. The real joy of his performance though, is those quiet moments of trying to recapture the feeling of being behind the wheel. It would have been easy for this to be a typical against-the-odds sports film, and I guess it is to an extent, but it's the small moments, the little nuances like the ones in Damon's performance that make it stand out
The standout though, is Christian Bale. His Ken Miles is a layered performance, brash Brummie bravado hiding that same yearning for the thrill of the race. He's aggressive, and stubborn, but again it's the small moments, when we see Miles as a husband and as a father, understanding the presence that racing has in his life and more importantly, what he stands to lose. There's a big question here about the responsibility of racing, and the uncontrollable urge to return to the track. There's great control in his performance, and the way he shifts between stubborn rage ("Poxy bastard door!") and quiet, vulnerability ("I can try") is another testament to how reliably impressive Bale is as an actor. I especially love his relationship with his son, who in many ways is the heart of the story, and the genuine warmth in their relationship gives the racing scenes a real feeling of something being risked
Of course, as in most films that centre around two key performances, the rest of the cast aren't quite as impressive. It's not that any of them are, kind of the opposite, they're all great, it's just that this is so undoubtedly Shelby and Miles' story that they feel somewhat underdeveloped. John Bernthal's Lee Iacocca is just so secondary that any time he's the focus, it feels like a different film. Tracy Letts' Henry Ford II also suffers from this, feeling more like an obstacle than an actual character. Caitriona Balfe gives good support as Miles' wife Mollie, but the moments between them are so warm and sweet that it kind of makes you wish she had more screentime. Again, the story isn't about these characters, so it's not even that big of an issue, but it's a small snag that I think catches the film every now and again
But then there's the other element that just makes Ford v. Ferrari sing: the racing sequences. Bolstered by the quietly muscular drama, when they happen, they are spectacular. The final race at Le Mans, roaring engines contrasted by tea drinking and corporate meddling, is as thrilling as big-screen fare gets. All of the races here are stunning, so much energy and verve and aggression. I know absolutely nothing about racing, but it's translated so well into the unique language of film that it kind of doesn't matter. This is a proper cinema experience, and what sets it apart from a lot of action scenes in big Hollywood films is how tactile it is, so focused on the feeling, on the life-or-death thrill of racing, blending that with the drama, not to distract from it, but to emphasise it, to remind you what's at stake. There's no attempting to be too clever here, or distance from what's going on, just face-on-track tension and pure, nearly euphoric aggression.
Ford v. Ferrari's racing sequences are incredible, and the performances of Damon and Bale are so good, that they make the entire film standout, not relying on them as much as identifying what works and amplifying it to its absolute peak. The balance of substance and spectacle is so sound here, so fine-tuned that it's impossible not to feel what Mangold wants you to. Going back to the start, it's nice to have this kind of movie, and it's especially interesting for Disney. I know it was in production before they acquired Fox, but given the whole vibe of it, it'd be cool to see them put out more stuff like this going forward. The film is long but given how well-plotted the drama is, and how exciting the climactic action is, that's hardly an issue, and the climax is made all the more satisfying because of how well-done the character stuff before it is. I thought it was a really fun throwback to this kind of mature, prestigious drama, with the kind of massive, heart-in-mouth action that digital effects can provide. Ford v. Ferrari is the kind of fil that strives to provide that very exciting big-screen experience that still has a lot of meat and substance to it, and I think it's absolutely successful in doing that
No comments:
Post a Comment