Ferrari film review: Michael Mann realises 20 year dream movie

Legendary director Michael Mann spent over twenty years trying to get his passion project, a biopic of car manufacturer Enzo Ferrari, onto the big screen. After two decades and many cast changes, was it worth it?

Adam Driver plays the title role, portraying Ferrari during 1957 when his car company was in dire straits. With sales dwindling and a takeover on the horizon, he sees redemption in that year’s Mille Miglia, a treacherous road race that risks the lives of all that compete. Away from the track, his marriage to wife Laura (Penelope Cruz) is crumbling after the death of their son, and he struggles to keep his mistress (Shailene Woodley) and illegitimate son a secret.

There are two very distinct sides to this story – the man and the motors. Both are given equal time, and the same amount of scrutiny. Behind the wheel, it’s illustrated how brutal and unforgiving the life of a racing driver was before the various safety measures of today, where a crash almost certainly meant death.  The public status of Ferrari as a national treasure, and the passion he has to perfect his craft, is also evident.

However, it’s behind the scenes where Driver and the cast truly shine. Portraying a man unable to cope with the complex emotions of loss and the end of a relationship, there is a real sense of getting to know the person behind the sharp suit and sunglasses. Cruz is also exemplary, playing a bitter spouse who is as likely to pull a gun on Enzo as she is to kiss him passionately. While they steal the show, there’s adept support from the likes of Woodley, playing an unbelievably serene ‘kept woman’, as well as Jack O’Connell and Patrick Dempsey in small roles as Ferrari’s drivers. Daniela Piperno, one of the few Italian actors in major roles, is also delightfully unnerving as Ferrari’s mother, lurking in doorways and casting judgement at every turn.

Focusing on parallel storylines can mean the tone wavers a lot. Those who find the passion of the interpersonal scenes riveting may be left cold by the precision of the racing scenes, while gearheads may not be that interested in who the great man chose to share a bed with. There is something for everyone, but a consequence of that means the film doesn’t run as smoothly as it might.

Having told the stories of Muhammad Ali and John Derringer in previous films, there was little doubt that Mann would bring something interesting to Ferrari. A shocking third act slaps you round the face as all the elements come together, with Driver leading the charge in a very well-acted ensemble. It may just miss the cut during Oscar season, but if you have a passion for knowing more about the greats of motorsport, this is a must see.