I'm not disappointed, Ferrari. Of course, Mann, a very filigree director, worked on this topic. about 18 years old, and there was the death of the author of the script of this film Troy Kennedy Martin in 2009, if I am not mistaken, he worked on the film “Hero Kelly”, so here the stars are all formed and there is a crazy, well-cut editing, drama and most importantly ... In all, including the third part of the film, the race Mille Miglia (I recommend reading the biography of Ferrari and you will immediately understand what I mean). despite Mann's strong tilt on Hellenistic aphorism, the thriller retains the The framework, function and drama to the very end. This shows the principle and level of the director. Adam Driver is great. Everything. In my opinion, there are notes of the game, like Ridley. Scott in the film "Gucci", where Adam plays Italian, but even all this does not detract from him. virtues. With every painting, Adam grows in every way. And Penelope Cruz is very good. Perfect and clever movie. Details, nuances. I highly recommend it.👏 Review written: November 14, 2023, Olya Grinevskaya (Alenushka).
It is no secret that in the early 2010s, Michael Mann announced his intention to make a film about the competition between Ferrari and Ford in 1966. Along the way, armed with a book by a certain A. J. Bame, and also seriously planning to take on the main roles of Brad Pitt and Tom Cruise. However, after a long marinated scenario or simply production hell, the project degenerated into a fairly straightforward biopic about Enzo Ferrari, the idea of which Mann hatched even more. All this promised to be a triumphant return of Michael Mann to the big movie, but alas turned into one of the main failures of the year with weak box office and restrained reception both by critics and audiences. Deservedly? Let's figure it out.
Modena, 1957. The founder of the company-national heritage Enzo Ferrari is experiencing the death of his son and lives in two houses - with his wife, the relationship does not go well, and from an old mistress he has a second son. Due to low sales over Ferrari looms the threat of bankruptcy, and to find an investor, Enzo needs to convince his wife to give him full control of the shares and raise the prestige of the brand victory in the grand endurance race Mille Miglia.
It's always hard to make a biopic. There are so many stories I want to cover. But this is simply impossible even if there is a timekeeping of three hours of screen time. Realizing this, Michael Mann decided not to cover Enzo Ferrari’s entire life. Instead, focusing on the most difficult period of his life. When the company is on the verge of ruin, the death of his son crushes, the marriage bursts at the seams and the last hope is to escape in a race that alas ends in real tragedy. Perhaps it was against this background that Mann managed to create the most voluminous excursion into the controversial personality of Ferrari. Which perfectly plays into the hand of revealing the character. But alas, very slow in terms of "entertainment" narrative.
The directorship of Michael Mann is a bit contradictory. Definitely the best thing in this tape are the few racing scenes that literally give realism and it is due to this realism that they achieve a spectacular impression and a sense of adrenaline running through the veins. It is impossible not to note the excellent artistic component of the picture. Since the overall level of production looks really hurried. However, the film itself turned out to be quite uneven and most of the screen time is very slow. Especially in terms of emotional background, which you simply do not feel when watching this tape.
Not to mention the excellent acting work of Adam Driver and Penelope Cruz. Especially good is Cruz, who due to her excellent game was able to bring character to her character and make her a really bright character. Shailene Woodley, Jack O’Connell, Patrick Dempsey, Sarah Gadon and the other actors played well. But their game is simply not remembered, and watching their characters simply do not see the living and real people.
6 out of 10
Ferrari is the long-awaited return of Michael Mann to the big movie, which unfortunately became one of the biggest failures of the year. Of course, the film captivates superbly staged racing scenes, art production, excellent acting work of Adam Driver and Penelope Cruz, as well as the most voluminous disclosure of the character of Ferrari. However, purely from the point of view of narrative, the film sags, the picture lacks an emotional background and for the most part the film looks alas soulless.
Men leaders in Europe are forgiven everything except the fading of fame and the weakening of the ego of the leader.
Director Michael Mann showed the complex family relationships of wealthy Italians. It just so happened in the West that France and Italy are famous for the freest relations of husbands to mistresses. It seems to be a biographical drama about the founder of Ferrari, but the second plan glorifies the easy relationship of husbands to relationships on the side. Men leaders in Europe are forgiven everything: treason, financial promiscuity, and political views. One thing is not goodbye! It is the extinction of fame and the weakening of ego in the leader. Actor Adam Driver plays a powerful figure in Italian business. The driver managed to convey a parable uttered by his hero: “Where the mother comes, death follows.” Even in modern society, it is hard to imagine how difficult it is to run a family business in a post-war economy. Directed by Michael Mann, Ferrari makes cars for kings. Only Adam Driver and Penelope Cruz can solve financial problems and family affairs in a dramatic way.
This drama enters into dialogue with the film Ford v Ferrari (2019). All Italians are proud of themselves, even if they are on the verge of bankruptcy. It's more of a family drama than a Ferrari sports car apotheosis in racing. There are many complex family squabbles of an Italian family, where the husband feels his importance. I was bored sitting in the room for 2 hours. “If it weren’t for the threat of bankruptcy, a rich Italian husband would have more than one family.” Actress Cruz plays a faithful wife, with whom both hell and heaven will be fine everywhere. The actors are good at playing the drama of a European family, but you know, "This is a passing movie in the 2023 movie season." It's even hard for me to find something I like. It’s a common drama where there’s the senselessness of an American shooting and there’s a passionate Italian mistress.
Ferrari is a European egoist, for whom racing, women, the press, money is a balm. Racing, as the passion of all men in Europe of the XX century, is revealed through the 1000 miles race. The music track is weak. This is a drama made with Chinese money.
For me, this is a boring movie about rich Europeans. A lot of people will say, “This is a historical film.” Pay attention to costumes, cars, interior. I will answer simply: "These fifties of Europe were preserved until the nineties in the USSR." I didn’t like the movie because there is no light.
Sour and depressing, like Adam Driver's face. "Rotten action." "Hollywood hanging cranberries." And a lot more in the same spirit can be read in the comments of users on various thematic resources, where the film premiere of last year from Michael Mann “Ferrari”, dedicated to the founder of the eponymous Italian car company specializing in sports and racing cars, Enzo Ferrari, is discussed. Needless to say, disgruntled fans of auto racing, for whom, it seems, first of all, this feature film was shot, it is easy to understand: Ferrari looks like anything - a standard biopic (some conditional "Kalashnikov", where instead of automatic cars - cars), or Ridliscott's "House of Gucci", similar in many positions to the novelty (from the national identity of the brands themselves to the American view of these Italian success stories from across the ocean), or a family melodrama about a successful man who has to maneuver between two completely different women, for example, but those in the genre Rhoda, for example, in the first place.
Let's go through the synopsis. The film takes place in the summer of 1957 of the last century, and the main event here is the legendary endurance race on the open road Mille Miglia, 1000 miles long, for which Enzo Ferarri is preparing his team. Only here on the demonstration of the most competitive process, the viewer in the first hour of timekeeping may not even hope, and something really worthwhile, drive begins only after one and a half hours of screen time, closer to the final (actually, the same “Mille Miglia”). The tragedy between Goito and Guizzolo is really scary, but in 120 minutes it's very little! In terms of shooting the race, even making a discount on the prefix “retro”, the team of Mann will not be able to surprise the experienced moviegoer, and in terms of beautiful vintage cars of the late 1950s, probably, too. As for the other components of the novelty, then everything is about the same here, in the traditions of the famous American director, because Michael Mann is a great example of a "good guy from the cinema"; it is difficult to find fault with something specific, but it is unlikely to admire something. As you can see, many now distinguish the play of Penelope Cruz as the legitimate wife of Enzo – Laura Ferrari, beaten by the life of a nondescript woman and the only business partner of her husband since the founding of the company, and this is actually a memorable image and a show master class from the Spanish actress, if not for one “but”, which again refers to the comparison with “House of Gucci”. The problem is that in almost any film in the series of ZHL (the lives of wonderful people) behind any skillfully created way is a real person who can be very different from what is presented on the screen. In "House of Gucci" relatives resented the image of Aldo Gucci, here it is easy to assume the reaction of descendants to Laura Ferrari, when they find a clear discrepancy with Mann's version of the memories that they have left themselves. But who cares in America, right? The main thing is that there was antagonism, the contradictions necessary for the drama, without which the lean spectacle would become even more sterile (by the way, even Adam Driver is almost unrecognizable in makeup, although it would seem that it is impossible to disguise his peculiar appearance and natural features).
So it turns out that Ferrari has become a disappointment for many, despite the fact that it is based on supposedly good intentions: to tell the story of the formation of the famous car brand, and at the same time to touch the life of its creator, a man of principle and incredibly passionate about his work. Average ratings and ratings of viewers in this regard look quite eloquent. From its bell tower can only add: what was forgiven at the time “House of Gucci”, given its objective strengths (actors, decoration, hairstyles, costumes, etc.), to let go of the new American filmed story of Italian success with all desire does not work. Apparently, in part because these are the greatest strengths of the work of Michael Mann is noticeably less. Well, comparing it with purebred racing films and not at all handy.
Long-build Michael Mann, part-time Bayopik with a capital letter - this is the movie that you watch and constantly catch yourself thinking that yes: finally Mann shot an "adult" picture when he was almost 80 years old. Perhaps this is the case when the circumvention of the Grand Prix of the Oscars and Cannes looks quite ridiculous, because it is written and filmed purely for awards.
This work has one significant advantage: even if you are “not in the material” and know the word “Ferrari” only by the brand of the car, the film will ship full of exposition scenes, and jitters what is. The film is about Mille Miglia in 1957 and the head of the Ferrari concern, who literally dreamed and raved about racing, claiming that he creates cars exclusively for competition, not for the public. So to speak, a person burned with soul and body, drowned for his own and therefore became a cult personality. Quite a spectator movie, able to please with excellent camera work and acting performances in the frame. The script is normal, but in some places stalls and can lose you as a spectator, although if you are involved in the world of motorsport and in the history of racing, it will be quite interesting.
The lyceum ensemble is great: one of Adam Driver's best roles, and it's a joy. It's nice to see Penelope Cruz and Shailene Woodley in the background. It's a shame for Sarah Gadon - a textured blonde who is always on the third and fourth planes, although she has excellent acting abilities. With the "technical" in the picture everything is in order: in the best traditions Mann uses only the "digit", and here it is not as bad as in the conditional "Cyber". Editing and sound design is good, but CGI sometimes cuts the eye.
'Ferrari' is a movie to introduce Enzo if you don't know her. Unhurried and conversational-literary pastime in order to be a little smarter and read on the final credits. Only positive emotions and a pleasant impression of what you see.
7 out of 10
I expected it to be a full-length biography about the long and thorny, ups and downs, triumphs and mistakes of one of the most famous auto designers in history. But director Michael Mann took a different path - he showed one year in the life of Enzo Ferrari. But what a year it was for the famous "Commentatore!"
1957. Ferrari has lost a son and heir, Dino, he is torn between his wife and mistress, hides an illegitimate son, tries to save Ferrari from bankruptcy and win the prestigious but dangerous and exhausting race Mille Miglia (Thousand miles). Proud, even arrogant, confident in his rightness, this giant (purely physically tall (187 cm) man; the creator of the company, which only a decade later became known as a national treasure, who made a breakthrough in the automotive industry) showered with blows of fate - the loss of a child, the collapse of marriage, the death of pilot friends, unrestrained criticism from the press - bends, hunched, but does not break. It's between two fires. He is consumed by the two main passions of his life - a passion for racing cars and women. He's a Ferrari.
- Everyone dreams of a Ferrari, that was my dream.
"Ferrari" begins slowly - an inexperienced viewer shows dozens of unfamiliar people, mainly Italians, exquisitely dressed, gesturing, with typical Italian surnames - all this evokes memories of the "Godfather". But once the riders squeeze the gas pedal into the floor, the film explodes with sounds, colors, emotions.
Michael Mann made a very stylish movie with classic cars and costumes, picturesque landscapes, beautiful Italian towns with their inimitable color and architecture. But his main achievement is nerve, drama, heat. As soon as the action of the picture accelerates, the speed and tension no longer decrease - the string is stretched to the very end.
- What’s behind it doesn’t matter anymore.
In many ways, this can be achieved thanks to the roof-bearing game of the title duo Adam Driver-Penelope Cruz. The driver is a very talented, charismatic, bright actor - as infused in the image of a hero who, in fact, is 20 years older than him - there is a great work of makeup artists, costumers, but also the actual game of Adam - his plastic, accent. Total reincarnation. Well, Cruz is just a goddess, she's always been, but here's something special. Burns everything around him. Scenes of deeply unhappy couples Enzo and Laura experiencing the death of their son and their relationship are what makes this film a film. When Driver and Cruz are in the frame, you don’t want to breathe, literally the whole space is electrified, sparks pour in all directions, life boils even when they say nothing. I haven't seen such chemistry in a long time. Shine! And the pulsating, stabbing, piercing soundtrack only adds to the atmosphere.
- The customer is not always right.
Ferrari is an example of a complex, not template sports drama, the plot of which captures and does not sink at all levels - in racing, in personal life, and in business intrigues. It's just a very good movie. And I hope that at least the actors will receive prizes for their roles.
10 out of 10
Under the roar of the engine and smooth curves of the classic Ferrari, fasten your seatbelts to get to the movie Ferrari (2023), which will take you on an exciting journey through the world of the legendary prancing horse.
It’s not just a movie about cars, it’s a story about passion, resilience and the human spirit’s unquenchable thirst for speed. Director Michael Mann masterfully conveys the essence of a bygone era when racing was raw, dangerous and exciting. Sepia-toned images and vintage costumes transport you to the golden age of motorsport, where Enzo Ferrari, the fiery patriarch of the automotive empire, pushes the boundaries of man and machine.
Adam Driver plays Enzo, a man consumed by his ambitions and haunted by personal tragedy. His image is both mesmerizing and complicated, revealing the vulnerability hidden behind the steely appearance of the racing titan.
But the real star of the show is, of course, the cars themselves. Mann's camera work brings these automotive wonders to life, conveying the blur of speed, the screeching of tires and the heady scent of burning rubber. Each racing sequence is a master class in cinema, after which you will take your breath away and drown in adrenaline.
Ferrari is not just a visual sight, it is a deep emotional experience. It explores the complex relationship between Enzo and his family, the ups and downs of competition and the enduring power of dreams. Whether you’re a car fan or just a lover of great stories, this film is bound to leave a lasting impression.
Michael Mann has always been a cold and detached director, but at the same time shooting technically cool and great, which brings him together with Ridley Scott. However, Mann’s main masterpiece for me is “The Fight”, and in my opinion, subsequently (as, in fact, before – the series “Miami Police” does not count) except for a couple of solid and strong pictures “Your Man” and “Accomplice” did not remove anything else interesting (from what I saw). Ferrari for the director is a dream project that he tried to launch for several years, and now it happened.
And, I must say, now, after the three cool things mentioned above, Michael, decades later, produced a powerful fourth. As a plot basis, there is a small segment of the life of Enzo Ferrari associated with the impending threat of bankruptcy over his brainchild, problems with marriage and preparation for the very important race Mille Miglia, a victory in which to keep the company afloat.
And from this small segment of the biography, the director squeezed a technical masterpiece! Having finally forgotten about his experiments with the digital camera, which irritated me in Johnny D, the full-length Miami Police and The Accomplice, Michael returned to the traditional shooting, and what he saw here can not come off. Brisk pace. Chic flower-core and work with flowers (juicy red Ferrari, greenery and sun-drenched views of Italy, brown and pressing interiors of the house) - everything works on the atmosphere and aura of a particular situation - race-passion and house-pain-loss. Excellent camera work and scenes with cars with such a powerful sound, which takes your breath away. The final race is something unimaginable in terms of the level of filming and production - you are afraid to breathe, you feel like you are pressed into a chair, like those riders on the screen. In a couple of small moments of the accident you can see the graphics (it was noticeable in the trailer), but it is such trifles and nonsense that pales with everything else that is shown on the screen.
The actors are gods! Adam Driver gives out Enzo Ferrari monumentally and with drama, and Penelope Cruz is passionate and furious, which can ignite a house with one look. In a couple, these two just do wonders. Shailene Woodley is also good in the background, although she has a less winning role, but the actress even in this small segment looks great. Shining charisma and Patrick Dempsey in the image of the racer – literally a couple of small scenes, and memorable. Jack O’Connell is also a great player. The accents here, of course, laughed again. Every time these attempts to give “authentic” cause me to laugh – it would be better to speak pure English, the meaning of such a kindergarten to give. But this is a trifle and almost a tradition - used to.
In general, fans of the director and fans of films “about cars” are strongly recommended. Very cool genre work, performed at the highest technical level.
Yesterday I managed to visit the premiere show of Ferrari for a large rental. Alas, did not remain for discussion with a motorsport commentator with a funny name Bashmakov. I don’t think I would understand it, to be honest.
From the epilogue we see a montage of archival footage of the arrival of red chariots together with Adam Driver, focusing on reading the race track from the frisky start to the grave memorial. So goes the whole life of Enzo Ferrari – riding on the edge of the razor between work and personal life, alternately falling “left”. For Michael Mann, it's a dream movie. The attraction to watching something cumbersome in the literal sense is read in other films of the Director, “Ferrari” is no exception. Operator and installation work is really high. The viewer sits in the silence of the hall, oozes from large-scale falls of cars (I say hello to the nervous woman who sat next to her) and sighs tragically at the sight of horrific deaths.
Bulletproof, a real iron man Enzo, unwilling to reveal his personal life to reporters, reveals his fears to us on screen. The pain of losing a son and the joy of having a second child interfere with the preparations for the Mille Miglia, the biggest endurance race, not only for cars, but also for Ferrari itself. Michael Mann, following the canons of his film language, shoots a biopic about a man torn apart, but always remaining a shark with an iron grip.
Personal expectations of the film were much more than it turned out to be. Visually beautiful, indisputably. Adam Driver and Penelope Cruz perfectly play the emotional background of their heroes. Of course, the Ferrari is not as dry as the Jeanne Dubarie and not the bleak three-hour House of Gucci. However, the biopic remains a biopic.
Michael Mann, technically, made a quality film, not without flaws, but it is difficult to criticize objectively, that’s just a positive assessment I can’t put, because the only impression of viewing is disappointment. The film with the high-profile name Ferrari does not reveal the identity of Enzo Ferrari, does not tell about how he created the company Ferrari or the racing team of the same name, it is at the expense of them and went down in history.
Adam Driver is not Enzo Ferrari. Christian Bale and Hugh Jackman, previously announced for his role – also not Enzo Ferrari. You won’t believe it, but it’s not just the skin color that’s causing so much controversy in the context of Netflix projects that matters. Enzo Ferrari is an Italian who personifies Italy, he is the same symbol of Modena as Luciano Pavarotti, he should not be played by an American, British or Australian.
The history of Ferrari is not a tragedy at the Mille Miglia race, I do not doubt, an interesting episode, but it should have been dedicated to a separate film, making the main characters Alfonso de Portago and Linda Christian, here it is only the background, which is catastrophically insufficient to depict racing in the context of Ferrari. I would even venture to assume that the vast majority of our viewers first learned about the existence of the Mille Miglia during the session, while everyone knows about Ferrari.
The fate of the bastard Enzo, now the vice-president of Ferrari with a ridiculous ten percent of shares, to be honest, is indifferent to me, and the film, in its essence, is about him, that is, this is not a classic story of Enzo, which inscribed his name in the history of Italy and the entire automotive industry, but made his name a brand. Instead of a biography about the legendary personality, we were given a “yellow” newspaper from the category of “scandals, intrigues, investigations”, which does not cause the slightest interest in a healthy person.
The events described in the script were certainly important to Enzo Ferrari, were an important part of his personal life, but they do not matter to assess his personality, he is famous not because he cheated on his wife and we do not talk about him as a “holy” or some ideal of morality and morality, for that matter. Enzo built a Ferrari. The Ferrari movie forgot to tell us.
As an additional, already quite objective flaw, I also note that the film is not credible. It is not even about the image of the mother of the main character, at least controversial. Compare the photos of Laura and the image of Penelope Cruz. Shailene Woodley is much more attractive than Enzo’s mistress in life and almost twenty years younger than Penelope, but I cannot physically imagine a man who would choose her – I’m not saying that this is impossible, but the probability is orders of magnitude lower than when looking at real photos of women.
6 out of 10
Well, the long-awaited autobiographical film Ferrari. Many people will compare this movie to Ford vs Ferrari, but it’s a different story. It seems that Ford vs Ferrari is a more dynamic film, there is more racing, excitement and so on.
That's not the case. Here the emphasis is more on the personality itself, namely Enzo Ferrari, who founded the Ferrari company.
It shows 10 years after the foundation of the company - it seems that the company has already risen to its feet, participates in races, there are private orders, but the company is still at a loss.
Ferrari suffers heavy losses, while other companies gain momentum and win races and everyone wants to buy their cars.
Our main character has problems in his personal life, he lost his son, lives for two families and another problem with the company.
And how he gets out of this situation, you will see in the film.
I also really liked the cast - Adam Driver as Enzo, Penelope Cruz as Enzo's wife, Shailene Woodley as mistress.
Many of course beautiful pictures - views of Italy, mountains, and of course the roar of the engine of cars.
All together immerses you in an unforgettable sight. There is a turning point, but it is at the end. So watch the film to the end and enjoy your viewing.
We went to see races and cars, not Santa Barbara.
I understand that living with two families is part of Ferrari’s biography, but I’m interested in what made him famous all over the world, not family squabbles.
Expected to see a grandiose biopic spanning several decades, to see him cry on the bench, after he was not taken to Fiat, how he created a team under his name performing at Alfa Romeo, how the emblem with a prancing stallion from Barakka's plane appeared, how Nuvolari won the Nürburgring in Nazi Germany, how the first Ferrari 125 self-designed car appeared, etc. In general, I wanted to see the formation of a legendary man and a legendary team, not a soap drama.
The actors play well, Adam Driver was pleasantly surprised. Penelope Cruz, too, is bright, expressive. I love what the 50s looks like in the movie. Racing cars look great, but about the race in the film 20%, and even then filmed so very crumpled and superficial. . .
I was waiting for the movie, but I was disappointed.
P.S. During the time shown in the film, Laura Ferrari was 57, Google what she looked like at the time, and the sex scene on the table will play out in new colors.
The film of Michael Mann is like a car, which is piloted not just by an experienced, but by a wise pilot. He doesn't rush down the road, risking everything. He knows that this race will not be won by the first person to cross the finish line. He is absolutely indifferent to those fans who are interested in the sports component. It defies the expectations of those interested in the personal lives of athletes and big businessmen. And those who understand what stocks, quotes, checks, which means an unsigned bill, do not reveal anything new in the business history of Ferrari in a crisis. All three lines – sports, personal and business – are nominally present in the picture, but at the same time they do not attract or fascinate. The average speed is kept, which first lulls, then tires, and then completely irritates.
Intrigue in all three lines is enough. The Thousand Mile Race should give the answer: will Ferrari survive the fight with Maseratti? Before and during the race there will be accidents with victims, the pilots will fight for the right to sit behind the wheel of the car. Brand owner Enzo Ferrari insists: life is not important, victory is important. But the race itself was shot without nerve. The meaning of the rearrangement of pilots is not articulated and remains unclear. Victims do not gain audience sympathy and empathy and their tragedies do not break the soul.
Enzo's personal problems are life for two families, one of which is secret. Psycho-emotional blackmail from the side of the official wife, the secret mistress. And here comes to extremes - to secret surveillance, to ultimats and shots. And almost everything in the mode of registration and ascertainment: the position of the wife, the position of the mistress, the position of the mother, the position of the secret son and the preservation of the memory of the son from an official marriage, who died without time – all saw this. We know the rich are crying too.
Business is intrigue. Ferrari, created by Enzo Ferrari and his wife on the ruins of the Italian economy immediately after the war, by the mid-50s became one of the locomotives of the Italian industry, with a clear candidate for bankruptcy. Yes, the market economy is rich in such collisions, on the materials of which you can make fascinating business detectives. Discussions with advisers about the number of cars produced, reports about the financial condition of Ferrari, which seems to be stronger, but hangs by a thread. And all this is not in the center of attention of the film, but in footnotes, references, ornament, against the background.
Why, with all the false expectations, never once does the treacherous thought arise – to leave the hall? The first explanation comes from Penelope Cruz. You can't take your eyes off her in this movie. Laura Ferrari is Enzo’s official wife and companion. A mother who lost her son. A daughter-in-law terraced by her mother-in-law. A woman who does not even suspect, but firmly believes in her husband’s infidelity. Penelope Cruz lives in this ocean of senses, where all currents blend in at any moment of being. Calculation and passion, curiosity and sorrow, mind and heart – everything lives and works to its fullest, flowing from one to another. The best episodes of the film are shots where Penelope Cruz alone, does not talk to anyone, but simply looks at the portrait of her son in the family crypt, listens to the opera aria, peers into the house where the rival lives. And all attempts to believe in algebra harmony, to let the senses check the conclusions of the mind, and to curb the raging emotions with the mind, in the end turn out to be the key to this tape.
It is in the frames where Laura Ferrari is present that you first pay attention to a special color background. Italy seems to be a lush south, it seems to be red summer. But on all the exuberant colors, the director and the operator seemed to throw a mourning fleur. It's like it's all shot through a transparent crepe. And the most colorful cars, spectacular fireworks, excessively - colorful summer Italian landscapes on the sides of the race track are mixed in mixing black paint, in a noticeable decrease in brightness.
And by the end, when all three lines are unleashed, it is no longer surprising that the resolution is ambiguous everywhere. Victory without joy, love postponed for the future, promissory notes with payment to non-bearer, successful business – a plan with the eternal threat of bankruptcy. Here, no one is to blame for accidents and deaths - it was rock that put a nail on the track. Here, the love triangle is resolved with a delay of a quarter of a century. Here, in a duel, Reason vs. Feeling conquers Chance.
The film made it to the finish of the race. And it turned out that he was competing with competitors at all not in speed. In this dark veiled universe, he who believes in His Majesty Chance wins. Let’s not forget: the pilot – director Michael Mann 80 years old. He is an eternal nominee, but never a winner. His experience for these years is an experience of humility. Victories and defeats are not the result of personal efforts and tireless work, but only a game of fate. Laura Ferrari knew this before anyone else. But Penelope Cruz won in the end.
Ferrari is a masculine biopic about the founder of the main auto empire of the world, in which there are few races, but a lot of sweat, frowning foreheads and playing Italian Americans.
Of course, it would be far more honest to call this film - ' One Day in the Life of Enzo Ferrari' This is not a movie about motorsport, not a movie about the greatest concern in history, not a movie about Italy. In fact, Michael Mann wanted to make a film about a man in everyday stress, to show the inside of the Scuderia through a psychological portrait of its leader, to put on a pedestal not a story of takeoff, but a consistent metronome of stability. It was damp, boring and in places. . . uselessly
Why did Michael Mann’s lifelong project (and for starters, the writer died in 2009) come out like this? The issue is complex and poorly solved. Mann was held hostage to the fact that he was always bad at telling stories. And this is where the density of the plot was most important. Even beautiful shooting of the race Mille Miglia (filmed really cool, without pretentious takeoffs on drones, and the eyes of the pilot).
Essentially, the whole movie (literally from the first second) is about the personal tragedy of the legendary Enzo Ferrari. It is terrible to use the word ' miscast' in the case of Adam Driver - the most ' Italian' American from the Hollywood top clip, but the role of the 57-year-old commendator came out from the 40-year-old actor plasticine and very cliche. Here he wrinkles his forehead, here he explains to his illegitimate son the device of the internal combustion engine, wrinkles his forehead again.
Another miscast is the role of Enzo's mistress. Shailene Woodley is anything but a fatal seducer. Michael Mann holds the viewer by the testicles exclusively the character of Penelope Cruz, apparently began the campaign for the second 'Oscar'. She smells of aggressive sexuality, she subordinates everyone with just one look, although the main feature of her character is the pain of loss. First the beloved child, and then the beloved man.
After watching 'Ferrari' it is difficult to answer the question of what this film is about. The drama of Enzo himself fades into the background after a couple of scenes with his wife Laura. Especially the one where in the hands of a husband and wife flashes a gun, then a broken glass of chianti.
Is this a race movie? So much has been said about the tragedy at the ill-fated Mille Miglia that it could surprise only those who were not interested in auto racing. And the plot is sent to the third, if not the fourth plan. In the film, so often someone dies that each subsequent death lowers the degree, not raises.
The thought slipped that this is a film about the infallibility of the Scuderia. Death of riders (not uncommon), broken cars, war, famine, pestilence, anything - and Ferrari is standing. But no, vulnerability with imaginary composure appears in the frame so often that in reinforced concrete of this construction do not believe a second.
Finally, I found the answer. He's very Mannovsky. ' Ferrari' is a movie about a man who can not be weaker than his competitors, his woman, another woman, circumstances.
Escape from reality can always be different. It depends on the scale of the individual. Old Enzo Ferrari was disappearing in his work, his workshop, his racing passions. And old Michael Mann is making another movie. It's about the hard part. Yours, yours, and someone else’s.
0. But I'll start with the foreword. I couldn't get past this movie as a motorsport fan. Yes, now a relative fan, but I was brought up on Schumacher races, saw the first races of Alonso and Petrov. I even know who Jarno Trulli is and why you never want to drive behind him.
And here's the Ferrari. And here's another from the director of "Ford v Ferrari." Five years ago, Mann made a very juicy and drive sports movie. And now I decided to delve into the topic and took an episode from the life of the great Enzo.
Maybe I was expecting a little different from the movie. I was waiting for a movie about racing and it was a love triangle movie. Here we remember the wisdom of Andrei Sergeyevich and do not put forward any claims.
So here we go:
1. Undressed and superfluous lines that pull timekeeping and slow down the acceleration of the film. It could have been more intense and interesting if the film hadn't been godlessly stretched with unnecessary dialogue and episodes.
2. Why was there a need to fight the Maserati? Around it was built one of the main saspiens of the film, but at the end of the “Maserati” merged even dumber than the Ferraris in the “Ford”. Maybe that’s true, but it’s a movie. If you do not want to depart from the truth, then do not escalate where there will be a completely uninteresting outcome.
3. Oh, what a race. With five cars for the protagonist and two for the antagonist. With the same colors on the two teams. With a bunch of riders when you've only been introduced to one. It's a great ride.
4. No, I won't mind making a claim. A big problem with the accents in the material they wanted to show. Yes, there is absolutely the right of the director. But are you really sure that Enzo Ferrari’s love affairs are exactly what you should do with the main line? Is this really what the people who watch this movie will be waiting for? Doubtful, but okay.
5. Very little about the big accident at Milla Milla. In fact, it’s a big page in Ferrari’s history that almost destroyed the reputation of a great company. And an important episode that affected motorsport and forced even more attention to safety. But almost nothing about him. Although I personally feel like putting the accident half an hour earlier and getting it better would be more interesting.
6. I'm sorry, Adam Driver, but you're Italian for three. But Penelope Cruz is beautiful. She grabbed every shot she was in.
Probably, having entered the taste after 'Gucci', Adam Driver this time not only embodied the image of another legendary personality on the screen, but also acted as one of the producers. Probably, there was no doubt in the success of the film: the main role is firmly entrenched in the status of a star Driver, the main secondary role is still noticeable Penelope Cruz, in the director's chair experienced Michael Mann, as a primary source - the biography of one of the most famous people in the field of mechanical engineering and motor sports.
But it wasn't that simple. What must have looked great on paper, when transferred to the big screen suddenly turned into, shall we say, not the most fascinating spectacle. Conventionally, the film can be divided into two components: one shows Ferrari as an ambitious owner of a machine-building company going through difficult times, the second reveals his relationship with his family and mistress. Both of these story arcs are interesting enough to want to know how the end of the case will end, but not good enough to cause empathy and make you stick to the screen.
If we talk about Ferrari, we would like more details, more dynamics, more episodes that reveal Enzo and his drivers. If Mann did that, the final race would have looked lively and emotional, not like a repeat of yesterday’s race on TV'.
To penetrate the same family drama failed due to a number of factors, of which I can distinguish rather flatly spelled characters (unless Penelope Cruz managed to create a memorable image) and, alas, not very interesting protagonist. Adam Driver has long proved that he is a great actor, cleanly washed away from the star-war Kylo Renn, after which many saw him as an exclusively eared miscast. But in 'Ferrari' all his efforts (in the fact that Adam approached the role, over his sleeves, you can not blame him) are broken about the mediocre elaboration of the character.
As a result, most of the film is a good, but very lulling spectacle, which explodes with a sharp scene in the finale, but before that it hardly holds the audience interest.
6 out of 10
A story of speed and passion lost in the shadows of personal dramas
The film ' Ferrari' 2023, in which Adam Driver starred, is a dramatic look at the life of the famous Enzo Ferrari. However, despite all the potential that this biographical story holds, the film unfortunately does not live up to expectations.
Director Michael Mann, known for his ability to turn complex stories into thrilling movies, seems to have failed this time around. The film places too much emphasis on Ferrari’s personal life, his relationship with his wife and mistress, while his career, passion for racing and contributions to the automotive industry remain in the background.
For viewers waiting for a fascinating story about the world of auto racing, the film may seem boring. The most interesting aspects of Ferrari’s life, including his activities before and after the war, his aspirations and achievements, are overlooked or simplified beyond recognition. The races that were supposed to be the culmination are not impressive and seem to be an appendix to the main drama.
Adam Driver is certainly a talented actor, but his portrayal of Ferrari doesn’t give the film the depth it needs. Translating the main characters into English also causes dissonance and reduces the realism of the narrative.
Unfortunately, ' Ferrari' turns into a melodramatic story, devoid of real understanding and passion for the world of auto racing, which is especially noticeable against the background of other films about racing, such as ' Ford vs Ferrari' where the characters and storylines develop much more vividly and interestingly.
As a result, the film ' Ferrari' remains a disappointment for fans of auto racing and cinema. Despite the stellar composition and potential of the theme, he fails to fully reveal either Enzo Ferrari’s unique personality or the world in which he lived and created.
3 out of 10
As you know, in the wild, males always strive for competition: because of the female or because of simple supremacy, but such a desire is common. And people, although they have gone through hundreds or even thousands of years of improvement and development of civilization, have not lost their basic, natural instincts, and therefore, in any era, competition is also normal for them. The development of the means of communication raised the question of conveying their superiority not only to a miserable handful of onlookers, but to thousands, millions of earthlings, and then sport in its modern form came to the aid of the competitors. Indeed, its diversity can satisfy anyone: from fans of relatively simple types like some kind of struggle to intellectuals who prefer chess. I’m not going to say that the races that the new Ferrari film is dedicated to are something in between, but this is something special because they allow you to defeat not one opponent, or even a group, but all, that is, show absolute superiority. At the same time, it is the distinctive features of racing like nothing else that acutely raise the question of whether the game is worth the candle, which Ferrari largely affects.
Probably, there is no point in questioning the choice of the main character of the new film, since in the life of almost any outstanding historical figure there are many ups and downs, which would be interesting to look at carefully. However, in the case of Ferrari, the most surprising choice of the period of life of the protagonist, as one strongly influential event has already happened and long enough that its consequences somehow settled down and were not decisive, and the second has not yet happened. The year considered by director Michael Mann is filled with, well, maybe not quite gray, but the everyday life of Enzo Ferrari, when nothing important enough happens in his life to dedicate to this movie. Of course, you can argue with this, because the picture pays considerable attention to the vicissitudes of personal life, and preparation for a very important race, but such a filling creates a sense of chaos and distraction of Ferrari, which does not determine what is most important for her. It is permissible to assume the desire to show the mutual influence of the two aspects of the hero’s life, however, in fact the personal and professional do not contradict each other, do not complement each other and do not even intersect (even Laura’s wife is separated from Laura’s partner here).
You can try to look at the choice of the time period from the other side - as a forerunner of the event in the final race, which indirectly confirms a similar episode at the beginning of the picture. In this case, the incident in the finale should be the result of a combination of factors that the picture could offer the viewer, but this is not the case. Deliberately demonstrating the cause of the event of the beginning does not receive development, Ferrari in his preparation shows sufficient meticulousness that he could not be reproached for anything, and the situation of the final race itself is a consequence of chance (and this is a historical fact), that is, not the result of the actions of the hero, but if so, then what did the director of the picture want to convey? In addition, it is necessary to pay attention to the brutal bloody detail, with which not even all fighters, Ferrari visualizes the final race and its culmination. This is usually shown by key events, that is, those that have critical consequences. Everything would be nothing, and the race exactly corresponds to this criterion, but it happens in the last twenty or thirty minutes of screen time, so that further, much more tragic and complex than the previous thrust, the stories are devoted not even five minutes, but very sparingly to the details of the title in the final, moreover, not giving either unambiguous answers to the questions previously posed by the film, or not giving them at all. The above leaves a feeling of the director’s error, the choice of the wrong episode of Ferrari’s life that was worth covering, because not all the minutes of the great are worthy of the screen and, for example, figuratively speaking, picking even a genius in the nose to descendants can hardly be interesting. And Mann chose that.
In trying to figure out what the creator of Ferrari still wants to tell us, you can try to get close to the very nature of racing competitions. Yes, the film speaks directly about the nearness of death for riders, so, apparently, this is the main thing. In one of the episodes of the picture, Ferrari discusses from an unpleasant point of view another sport - football, comparing it with his favorite races. But then racing turns out to be fundamentally no different from football, except for one aspect: almost no one dies from football. The love of Ferrari racing does not make them nobler: it is up to the riders to decide whether to dare or not, only they seem to be deprived of the right to vote and their own self in the film, and, in fact, the Ferrari manager inspires them to risk their lives to win. Also, posing the question of the existence of the Ferrari brand itself in dependence on the results of the key race provokes an unexpected conclusion that in this case the lives of some (athletes) are at stake for the sake of not even survival, but the well-being of another – the manager, which in itself is quite cynical. Nevertheless, the shocking finale of the picture, the tragic achievement of a goal that is no longer needed, can help to understand that life is more important than any competition and any of its results, as evidenced by the attention to the event, not the sports result of the race. This is probably the best thing to say after seeing the picture.
Although not only the main character, but almost all the time present in the frame is Enzo Ferrari, although this rather cold role was adequately revived by the remarkable Adam Driver, the truly Ferrari should be remembered for the outstanding work of Penelope Cruz as the wife of a brilliant engineer. You can understand more from one of her plays about heroin than from the entire text she utters. This is a heroine of deep suffering and grief, aware of her defeat and tormented not by the fact, but by the fact that the other has what she no longer has. This feeling is conveyed so acutely that it feels trembling, no, shuddering. In a good way, this film should be about Laura, not Enzo, she experiences more complex emotions and makes more difficult choices. Astonishingly, as mentioned above, the film does not give a definitive answer about Enzo’s decision on her ultimatum.
“Ferrari” is a strange movie that manages not to concentrate on the complex, telling about a person with a difficult fate. On the second day, it is impossible to banish the feeling that the director made a big mistake, did not realize the potential. Yes, good and excellent acting work, beautiful Italian views slightly improve the situation, but the general illogicality and lack of ideas still remains stronger.
Michael Mann returned 8 years later with a biopic about the Italian entrepreneur Enzo Ferrari, whose famous car factory became the property of Italian culture. It is funny that in 2022 there was a biographical film about another Italian figure - Ferruccio Lamborghini, and in 2019 James Mangold demonstrated the endurance race "Ford vs Ferrari". Enzo pops up everywhere, so the author of criminal fighters and biopics decided to take an important period of Ferrari’s life and embody it on the screen.
The first thing that catches the eye is the makeup of Adam Driver, who looked brutal in the role of an Italian. The plot touches on a difficult period in Enzo’s life – scandals, hidden secrets, the drama of loss. We are plunged into the difficult times after the Second World War, when the world is in a race for technical and technological achievements of powers. A certain period of life of an already established entrepreneur conducting a hereditary business is overshadowed by financial problems. This is not just a concern for the production of cars, this is a whole empire, whose owner is obsessed with racing.
Enzo is a former racer, so wanting to break the speed record, the hero goes to everything, spending all the capital in the implementation of his goals. It seems that the tape shows the life of Ferrari in all aspects, bypassing the most important thing, but no. The director gradually introduces training tracks, riders and brutal fatal accidents. Horrifying and striking is Ferrari’s reaction to this – the emotionless Adam Driver, hiding his eyes behind the dark glasses. Getting into the role of a heavy, gambling, secretive person, the actor managed to fame.
The development of the secret life of Enzo allows you to appreciate how the public person hides his life, where one word of a reporter, one careless picture in the newspaper and all ... the empire will collapse. Wife Laura perfectly embodied on the screen Penelope Cruz. A cold, smart, cunning girl who perfectly understands that her husband’s empire rests only on her. Michael Mann beautifully showed how the characters affect Enzo, the director conveyed the energy of what is happening. On one side are cold colors, darkened by red, so clearly combined with the official color of cars; on the other side, the life of Lina Lardy, embodied on the screen by Shailene Woodley, pronounced by warm colors, pink and yellow shades of family and comfort. In addition, the presence of a common son clearly conveys the difference. The director began the story with a cemetery and a gloomy Laura to move to a cozy house with the love and warmth of a loving Lina.
This parallel perfectly reflects the internal changes of Enzo, who competes with Alfieri Maserati. The film aggravates the situation of rivalry, gives uninterrupted operation of the plant and the hypocritical attitude of Enzo to the riders. A lot of riders gathered: from “young blood” to “old warriors” to focus on the competition not only with competitors, but also with each other.
The famous 1,000-mile race that will prove to the world who is better: Ferrari or Maserati. The director very subtly intertwines the investigation in Enzo’s personal life with preparations for the race. The event is perfect, global, gambling, sports, the outcome of which can change not only the position of Enzo, but also the general view of sports cars. With athletic zeal, we watch the race that decides the fate of everyone, while simultaneously revealing the secrets of Enzo on the personal front and ... parallel editing brings this to a powerful climax.
That’s what Michael Mann can do, that’s what the director’s reception is the most important – he intrigues several storylines at once, changing the takes of the event, but causes anticipation of the outcome, to give an unexpected, stunning turn to the very end. Whether it’s preparing for a fight at Ali, whether it’s an operation to catch a gangster in Combat, now we have exposure from one storyline, and the shock of the racing situation.
The director showed a beautiful biopic, was able to heat up passions, give emotions and embodied the cruelty of Enzo’s actions, reflected on the track.
Surprisingly fresh picture, which lacks tension. Enzo doesn't empathize because you don't see the person in front of you. Only thanks to the work of the Driver, he is somehow perceived. Had he been more relaxed, it would have killed the movie. Strong actors basically save everything. Especially Penelope Cruz.
The director himself has not decided what he wants to show his hero, then he is a cold cynic, then a sensual sufferer. Someone will say about versatility, but the frames of the second do not emphasize the first, as if they were there by mistake of the editor. (The montage here sometimes ruins whole scenes; until the credits, we never know whether Enzo agreed to his wife’s terms with his son’s name.) How does he even feel? The strength of personality is only visible in the episode of recommendations to drivers before the start of the race. A brilliant designer, designer, businessman, the viewer will not see.
The races themselves are dull, which is simply unacceptable for such a tape. Yes, they are not terrible, but there is no drive in them. The famous tragedy produces a bomb explosion with such a calm narrative, but everything fades further.
Cinema consists of a set of life episodes (the main problem of all biopics, but thank you for not trying to show a lifetime), which do not add up to a clear line for creating an image. Ferrari's internal conflicts look quite unconvincing, which is why there is no particular interest in him. Your relationship with your wife is better than anything else. It is interesting to watch them.
Again, no one managed to outshine the great Rush.
7 out of 10
The trailer gives the impression that it will be a biopic and/or movie about cars and racing. But I was disappointed, in fact it was just a family drama, seasoned for sharpness with a small number of races. In addition, those who are even a little familiar with the personality of Enzo Ferrari, this movie does not add anything new to his image. He is the same as he is always portrayed. An arrogant, peremptory tyrant, who considers himself a genius and the navel of the earth, and everyone else that rivals, that assistants are complete nothingness. If he doesn’t need you for his own purposes, he won’t even say hello to you. In addition, the film tells about a short episode of his life lasting only a few months. Racing in this movie is not its main component. It feels like they've been added here at a minimum, just for one purpose, to attract male viewers. That's why the attitude to the racing scenes is so negligent. The actors play well, especially Adam Driver, and you don’t know him in makeup right away. And the other actors did the roles too. But what was especially pleased was the beautiful costumes that convey the atmosphere of the 50s. And in general, the entire prop accurately conveys the right time, the artist of the film bravo, or rather bravissimo.
But in the end, the topic of Ferrari was not disclosed. Neither the racing component of the brand, nor the biography of Ferrari itself. More or less, only the vicissitudes of family life were highlighted. And the movie was average. Women are not interested in cars, men are not interested in family quarrels, and the film is equally uninteresting to both. I think he'll fail at the box office.
This is the story of Enzo Ferrari and his family, who are experiencing a crisis in their personal and working relationships. He is on the verge of bankruptcy, he has a complicated relationship with his wife and another lover. His pilots will participate in the Grand race Mille Miglia, which was supposed to change his life.
Let me start with the fact that I learned about this movie recently, I was interested in this project by the cast, that the film is about an interesting historical figure and that the director of the film Michael Mann.
I can say that Ferrari turned out to be an interesting autobiographical film in which, from a visual point of view, the atmosphere of the 50s is beautifully conveyed, the film has excellent camerawork, the story of Ferrari itself is quite dramatic and difficult, in general, it was interesting to watch the characters throughout the film because not a few trials fall on their share.
From the actors I wanted to single out Adam Driver, Enzo Ferrari, to be honest, I somehow never was a big fan of Driver, but over the past few years I have changed my opinion, he is a very charismatic texture actor who manages to create interesting images on the screen, in this case, his hero believe, you worry for him, it is interesting to watch.
Penelope Cruz, Laura Ferrari, the wife of Ferrari, a powerful woman who survived the tragedy, the loss of her son, while the relationship with her husband is very difficult, Cruz plays back here very emotionally.
Shailene Woodley, Lena Lardy, the beloved of Ferrari, the mother of his son, her heroine turned out to be quite a pleasant girl who takes Enzo as he is, the situation that has developed between her, Enzo and his wife is unpleasant, but nevertheless her character does not cause negativity, Woodley looked in this role worthy.
In general, Ferrari turned out to be an interesting atmospheric film, with a decent cast, from a visual point of view spectacular, tense, emotional, with a decent cast, I recommend watching.
An unexpectedly strong beautiful impression was left by the drama Ferrari. Until the film of the year.
I got into the movie solely because of Adam Driver, but quickly the fictional reality with the actors dissolved, and before the credits I lived an alternative life. Many scenes turned out to be familiar from the inside, believable. The script is very good! Irony and sarcasm dissipate the tragedy of life. Especially remember the episode with the gun during business negotiations. So much pain and the forces of old attachment put into it.
Penelope Cruz played a deeply unhappy woman on the verge of a nervous breakdown. Beautiful, but unloved wife, so beauty she no longer needs and only emphasizes the degree of grief.
Shailene Woodley, on the other hand, spends most of the film fluffy, in simple home clothes, in flour and in the ground from the garden, but she can be ugly or anything because Ferrari loves her. Anybody.
This contrast was important to me and eventually came to the fore, although Ferrari’s personality, senseless and crushing fascination with racing is brilliantly shown.