Ferrari (2023)

Enzo Ferrari. The name conjures images of sleek, roaring machines, chequered flags, and champagne-soaked victory laps. Michael Mann’s Ferrari promises to take us behind the wheel of this automotive titan’s life, but instead of a thrilling Grand Prix, we get a bumpy, unsatisfying drive.

Set in 1957, the film finds Ferrari facing financial ruin, his legendary company teetering on the edge. His solution? To gamble everything on the perilous Mille Miglia, a 1,000-mile race across Italy. This high-stakes gamble forms the film’s backbone, but the emotional gears grind slowly. The historical context, a fascinating period of post-war passion for speed, feels mostly like window dressing. The race itself, while visually impressive, lacks the visceral tension and human drama that could make it truly grip us.

The film’s biggest flaw lies in its characters. Adam Driver, though undeniably talented, struggles with a forced Italian accent and a portrayal of Enzo that veers between icy arrogance and maudlin sentimentality. Penélope Cruz, as Ferrari’s fiery wife Laura, fares better, injecting much-needed life into the screen, but even her performance can’t overcome the script’s underdeveloped female characters.

Mann’s direction, usually masterful in crafting stylish thrillers, feels oddly muted here. The score, while evocative, fails to capture the heart-pounding adrenaline of the race. Cinematography, while competent, rarely reaches the heights of Mann’s usual visual poetry. The editing, particularly in flashbacks, feels jarring and disorienting, disrupting any emotional flow.

There are glimmers of brilliance amidst the disappointment. The race sequences, while not as gripping as they could be, showcase awe-inspiring vintage cars and the inherent danger of the era’s motorsport. Driver, when allowed to shed the accent, delivers moments of genuine vulnerability. The film’s exploration of grief and the burden of legacy resonates, albeit faintly.

But ultimately, Ferrari sputters and stalls. It’s a film that wants to be a roaring epic but ends up feeling like a frustratingly slow cruise. The historical context is underused, the characters are underdeveloped, and the emotional impact is muted. Fans of Mann’s work will be left wanting, and those unfamiliar with Ferrari might find themselves more interested in reading a biography than watching this cinematic biopic.

So, should you buckle up for Ferrari? While the film has its moments, overall, I was disappointed. There are better car and racing films out there, and better biopics too. Unless you’re a die-hard Ferrari devotee, this race might be best watched from the sidelines.

(In cinemas — check your local movie guide for show times.)