FERRARI -- Michael Mann’s Latest is Exciting, Dramatic, and Messy

Review by Cole Groth

A new champion has emerged between Adam Driver’s two biopics where he puts on a ridiculous Italian accent in Michael Mann’s Ferrari. This isn’t to say that the film is a masterpiece — neither one is. But, where House of Gucci was a dreadfully stupid movie that never found its footing, it has a somewhat clear vision and an incredibly compelling story. Here, Mann directs the life of Enzo Ferrari, splitting the film into two distinct pieces. The first is a slightly dull, soapy story of the automotive mogul, with the second being a thrilling action piece about racing. The second piece works a lot better than the first.

Enzo Ferrari was an incredibly complicated and powerful man. In this film, we see his chaotic life choices play out: a decade-long affair has forced him into a double life with his wife, Laura (Penélope Cruz), and lover, Lina (Shailene Woodley). After the death of his first child with Laura in 1957, his declining marriage with her, and the impending demise of his company, Enzo decides to enter his team into the Mille Miglia to bring the Ferrari brand back into the limelight.

Driver, Cruz, and Woodley are all pretty fantastic in their roles. Driver and Woodley are hindered by these gaudy Italian accents, but Cruz shines in every way. The three weave a complicated love triangle that feels authentic. It’s one of the best portrayals of an affair I’ve seen in a movie because of how the three interact. Enzo cares for both Laura and Lina while engaging in his double life. He’s in a complicated relationship with the two that works because of his chemistry with each actress.

There’s a scene toward the film’s end where everything comes to a head. It’s one of the most shocking scenes in a biopic in a while, and I’ll refrain from spoiling it because it’s the moment where the film moves from being a somewhat average biopic to something much better. Mann spends most of the movie with as little grandeur as possible. He strips away any of the bells and whistles that directors like Ridley Scott or Adam McKay bring and, in a scene, decides to bring them back together. It’s an incredible moment and one of the better ones of the year.

The film’s editing is the biggest boon to it being a masterpiece. Mann struggles with balancing the exciting racing stuff with the dramatic interpersonal relationships. Both are good on their own but are so juxtaposed that they feel like two separate movies. There is also some iffy special effects stuff, most notably in the earlier-mentioned shocking scene, that took me out of the film’s realism, but otherwise, the production design is very well done.

Ferrari is a little all over the place. Anchored through great performances from the leading three and some killer racing sequences, this biopic of a larger-than-life personality is mostly a winner. This will undoubtedly be a controversial watch for many, but it’s certainly not a bad film. It’s been eight years since Mann released his last movie, and while this one is a little underwhelming, his return to film is a Christmas present of its own.

Ferrari releases in theaters on December 25.

Rating: 3.5/5