A few years ago, I watched and reviewed a movie, which at the time, was one of the best movies I had seen in that particular year: “Ford v Ferrari.” There were several aspects which really made it stand out. For one, it depicted a society that stayed present within the context of the characters involved. What I mean to say is that there was no attempt to preach at the audience about what was going on in society at large, at the time. Beyond this, the experience of viewing the film with a paying audience was one-of-a-kind. It felt as though there was a sense of pride, with Americans watching a true story about America, but one that was mostly about something positive, which seems rare these days.
I can think of at least a handful of times in which I heard about a movie, but decided not to see it because I felt as though I had already seen it, in a fashion. You might say I was thinking something similarly when I discovered “Ferrari” was on its way out, but on the contrary, due to the casting of Adam Driver (“65”), as the titular character, I was not thinking that at all. Absent from my previous experience I just spoke of was the experience of seeing it with an actively-engaged audience. Furthermore, I watched it from the comfort of my own home, as well. As I also discussed with a family member, who is directly-involved in the filmmaking process, I was not seeing “Ferrari” the way it was originally intended to be seen. I cannot argue with that prognosis. All I can do is report what I DID experience, under my present viewing conditions.
“Ferrari” was directed by Michael Mann (“Blackhat”), who is known for such movie styles as: strongly-lit nighttime scenes and interesting music cues, plus having main characters making big decisions while they gaze out at massive bodies of water. Realism and practical effects have been frequent mainstays for his movies, as well. On board to write the screenplay for this outing was Troy Kennedy Martin (“Red Dust”), who has been dead since 2009, but seemingly left behind this piece for the taking. The inspiration FOR the screenplay was a book, entitled “Enzo Ferrari: The Man, the Cars, the Races, the Machine,” by Brock Yates (“Umbrella Mike: The True Story of the Chicago Gangster Behind the Indy 500”). In taking a glance at the producer list, it is quite lengthy, including the likes of: John Lesher (“Birdman”), Andrea Iervolino (“Tell it Like a Woman”) and Gareth West, a man known more for his cricket play than anything else.
Outside of Adam Driver, the cast includes: Penelope Cruz (“On the Fringe”) as Laura Ferrari, Shailene Woodley (“Dumb Money”) as Lina Lardi, Sarah Gadon (“North of Normal”) as Linda Christian, Gabriel Leone (in his first American-made film) as Alfonso de Portago, Jack O’Connell (“Lady Chatterley’s Lover”) as Peter Collins and Patrick Dempsey (“Thanksgiving”) as Piero Taruffi. If you noticed an absence of Italian actors, you are not alone and the distinction has been griped about, rightfully so, by Italians, but this IS an American film, so you have to give us a little bit of slack, I think.
The apparent cleverness in titling this project, simply, “Ferrari,” is that it is not just about the man who created the legendary vehicles. In fact, I found myself more-engaged with the inclusion of his long-suffering wife than the man, himself. To me, Driver was not given too many moments to let his charisma and real acting chops shine through the way that I am accustomed to. Instead, I was mesmerized by Cruz and rumor has it, I am not the only one, so far, who has taken to this reaction.
Furthermore, I did not find very much of the story relatable. Could that be a fundamental drawback to making a realistic adaptation about a person whom very few people truly understood the deeper side of? Perhaps that is so.
Mann has often collaborated with the prolific cinematographer, Dante Spinotti (“Fatale”), who is suspiciously missing from this project, despite being of Italian descent. Instead, Erik Messerschmidt (“Mank”), a very capable cinematographer, 
as well, was brought in for “Ferrari.” I took note of the driving segments, which felt like an accurate depiction for their time in history, but also became repetitive and, therefore, lost their allure, over time. Some of the shots looked like obvious CGI creations, too, a departure from the trend of aforementioned practical effects Mann is so well-known for.
All in all, “Ferrari” was a competently-made movie, as expected, but one that I mostly could not get into, emotionally. In other words, I felt boredom setting in and only took note of the things I have already mentioned. I DO anticipate “Ferrari” earning some nominations during the next several months, but mainly for its technical work and not much else, aside from Penelope Cruz’s performance. In my opinion, there are too many other films worth placing ahead of this one in most major categories and I will stand by that position with great conviction. “Ferrari” was pretty good, but bordering more in the in-between space of that and being just an average movie. However, you might think differently, especially if you get to see it on the big screen, unlike me. I think that is more than a fair summation, but it is time for me to move on…
Director: Michael Mann
Screenwriter: Troy Kennedy Martin
Based on: “Enzo Ferrari: The Man, the Cars, the Races, the Machine,” by Brock Yates
Starring: Adam Driver, Penelope Cruz, Shailene Woodley, Sarah Gadon, Gabriel Leone, Jack O’Donnell, Patrick Dempsey, Ben Collins (a real-life race car driver) as Stirling Moss, Tommaso Basili as Gianni Agnelli and Giuseppe Festinese as Piero Lardi
Distributor: Neon (United States) and STX Films (International)
Release date: August 31st, 2023 (Venice) and December 25th, 2023 (United States)
