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thisisyourdriverspeaking · 5 months ago

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Summer break and I'm kinda sorta missing F1 so here are the UK number one songs when drivers got their first Grand Prix win. Enjoy 😊

Giuseppe Farina (1950 British GP - 13th May), Juan Manuel Fangio (1950 Monaco GP - 21st May) & Johnnie Parsons (1950 Indy 500 - 30th May) - Billy Eckstine - My Foolish Heart

Lee Wallard (1951 Indy 500 - 30th May) - Les Paul & Mary Ford - Mockin' Bird Hill

Luigi Fagioli (1951 French GP - 1st July) & Jose Froilan Gonzalez (1951 British GP - 14th July) - Nelson Eddy & Jo Stafford - With These Hands

Alberto Ascari (1951 German GP - 29th July) - Hoagy Carmichael - My Resistance Is Low

Piero Taruffi (1952 Swiss GP - 18th May) - Nat 'King' Cole - Unforgettable

Troy Ruttman (1952 Indy 500 - 30th May) - Jo Stafford - Ay-Round The Corner

Bill Vukovich (1953 Indy 500 - 30th May) & Mike Hawthorn (1953 French GP - 5th July) - Frankie Laine - I Believe

Maurice Trintignant (1955 Monaco GP - 22nd May) - Tony Bennett - Stranger In Paradise

Bob Sweikert (1955 Indy 500 - 30th May) - Eddie Calvert - Cherry Pink And Apple Blossom White

Stirling Moss (1955 British GP - 16th July) - Alma Cogan - Dreamboat

Luigi Musso (1956 Argentine GP - 22nd January) - Tennessee Ernie Ford - Sixteen Tons

Pat Flaherty (1956 Indy 500 - 30th May) & Peter Collins (1956 Belgian GP - 3rd June) - Ronnie Hilton - No Other Love

Sam Hanks (1957 Indy 500 - 30th May) - Andy Williams - Butterfly

Tony Brooks (1957 British GP - 20th July) - Elvis Presley - All Shook Up

Jimmy Bryan (1958 Indy 500 - 30th May) - Connie Francis - Who's Sorry Now

Jack Brabham (1959 Monaco GP - 10th May) - Buddy Holly - It Doesn't Matter Anymore

Rodger Ward (1959 Indy 500 - 30th May) & Jo Bonnier (1959 Dutch GP - 31st May) - Elvis Presley - A Fool Such As I

Bruce McLaren (1959 US GP - 12th December) - Adam Faith - What Do You Want?

Jim Rathmann (1960 Indy 500 - 30th May) - The Everly Brothers - Cathy's Clown

Phil Hill (1960 Italian GP - 4th September) - The Shadows - Apache

Wolfgang Von Trips (1961 Dutch GP - 22nd May) - Floyd Cramer - On The Rebound

Giancarlo Baghetti (1961 French GP - 2nd July) - Del Shannon - Runaway

Innes Ireland (1961 US GP - 8th October) - The Shadows - Kon-Tiki

Graham Hill (1962 Dutch GP - 20th May) - B Bumble & The Stingers - Nut Rocker

Jim Clark (1962 Belgian GP - 17th June) - Elvis Presley - Good Luck Charm

Dan Gurney (1962 French GP - 8th July) - Mike Sarne & Wendy Richard - Come Outside

John Surtees (1963 German GP - 4th August) - Elvis Presley - Devil In Disguise

Lorenzo Bandini (1964 Austrian GP - 23rd August) - Manfred Man - Do Wah Diddy Diddy

Jackie Stewart (1965 Italian GP - 12th September) - The Rolling Stones - (I Can't Get No) Satisfaction

Richie Ginther (1965 Mexican GP - 24th October) - Ken Dodd - Tears

Ludovico Scarfiotti (1966 Italian GP - 4th September) - The Beatles - Yellow Submarine

Pedro Rodriguez (1967 South African GP - 2nd January) - Tom Jones - Green Green Grass Of Home

Denny Hulme (1967 Monaco GP - 7th May) - Sandie Shaw - Puppet On A String

Jacky Ickx (1968 French GP - 7th July) & Jo Siffert (1968 British GP - 20th July) - Equals - Baby Come Back

Jochen Rindt (1969 US GP - 5th October) - Jane Birkin & Serge Gainsbourg - Je T'aime... Mon Non Plus

Clay Regazzoni (1970 Italian GP - 6th September) - Smokey Robinson & The Miracles - Tears Of A Clown

Emerson Fittipaldi (1970 US GP - 4th October) - Freda Payne - Band Of Gold

Mario Andretti (1971 South African GP - 6th March) - Mungo Jerry - Baby Jump

Peter Gethin (1971 Italian GP - 5th September) - Diana Ross - I'm Still Waiting

Francois Cevert (1971 US GP - 3rd October) - Rod Stewart - Maggie May

Jean-Pierre Beltoise (1972 Monaco GP - 14th May) - T-Rex - Metal Guru

Ronnie Peterson (1973 French GP - 1st July) - Donny Osmond - Young Love

Peter Revson (1973 British GP - 14th July) - Slade - Skweeze Me Pleeze Me

Carlos Reutemann (1974 South African GP - 30th March) - Paper Lace - Billy Don't Be A Hero

Niki Lauda (1974 Spanish GP - 28th April) - Abba - Waterloo

Jody Scheckter (1974 Swedish GP - 9th June) - Ray Stevens - The Streak

Jose Carlos Pace (1975 Brazilian GP - 26th January) - Pilot - January

Jochen Mass - (1975 Spanish GP - 27th April) - Mud - Oh Boy

James Hunt (1975 Dutch GP - 22nd June) - 10CC - I'm Not In Love

Vittorio Brambilla (1975 Austrian GP - 17th August) - The Stylistics - I Can't Give You Anything (But My Love)

John Watson (1976 Austrian GP - 15th August) - Elton John & Kiki Dee - Don't Go Breaking My Heart

Gunnar Nilsson (1977 Belgian GP - 5th June) - Rod Stewart - I Don't Want To Talk About It

Jacques Laffite (1977 Swedish GP - 19th June) - The Jacksons - Show You The Way To Go

Alan Jones (1977 Austrian GP - 14th August) - Brotherhood Of Man - Angelo

Patrick Depailler (1978 Monaco GP - 7th May) - Boney M - Rivers Of Babylon

Gilles Villeneuve (1978 Canadian GP - 8th October) - John Travolta & Olivia Newton-John - Summer Nights

Jean-Pierre Jabouille (1979 French GP - 1st July) - Tubeway Army - Are 'Friends' Electric?

Rene Arnoux (1980 Brazilian GP - 27th January) - The Specials - Too Much Too Young

Nelson Piquet (1980 US GP - March 30) - The Jam - Going Underground

Didier Pironi (1980 Belgian GP - 4th May) - Dexy's Midnight Runners - Geno

Alain Prost (1981 French GP - 5th July) - The Specials - Ghost Town

Riccardo Patrese (1982 Monaco GP - 23rd May) - Madness - House Of Fun

Patrick Tambay (1982 German GP - 8th August) & Elio De Angelis (1982 Austrian GP) - Dexy's Midnight Runners - Come On Eileen

Keke Rosberg (1982 Swiss GP - 29th August) & Michele Alboreto (1982 Caesers Palace GP) - Survivor - Eye Of The Tiger

Ayrton Senna (1985 Portuguese GP - 21st April) - USA For Africa - We Are The World

Nigel Mansell (1985 European GP - 6th October) - Jennifer Rush - The Power Of Love

Gerhard Berger (1986 Mexican GP - 12th October) - Nick Berry - Every Loser Wins

Thierry Boutsen (1989 Canadian GP - 18th June) - Soul II Soul - Back To Life (However Do You Want Me)

Alessandro Nannini (1989 Japanese GP - 22nd October) - Jive Bunny & The Mastermixers - That's What I Like

Michael Schumacher (1992 Belgian GP - 30th August) - Snap! - Rhythm Is A Dancer

Damon Hill (1993 Hungarian GP - 15th August) - Freddie Mercury - Living On My Own

Jean Alesi (1995 Canadian GP - 11th June) - Robson & Jerome - Unchained Melody

Johnny Herbert (1995 British GP - 16th July) - Outhere Brothers - Boom Boom Boom

David Coulthard (1995 Portuguese GP - 24th September) - Simply Red - Fairground

Olivier Panis (1996 Monaco GP - 19th May) - Gina G - Ooh Ahh... Just A Little Bit

Jacques Villeneuve (1996 European GP - 28th April) - George Michael - Fastlove

Heinz-Harald Frentzen (1997 San Marino GP) - Michael Jackson - Blood On The Dance Floor

Mika Hakkinen (1997 European GP - 26th October) - Aqua - Barbie Girl

Eddie Irvine (1999 Australian GP - 7th March) - Boyzone - When The Going Gets Tough

Ruben Barrichello (2000 German GP - 30th July) - Craig David - 7 Days

Ralf Schumacher (2001 San Marino GP - 15th April) - Emma Bunton - What Took You So Long?

Juan Pablo Montoya (2001 Italian GP - 16th September) - DJ Otzi - Hey Baby

Kimi Raikkonen (2003 Malaysian GP - 23rd March) - Gareth Gates ft The Kumars - Spirit In The Sky

Giancarlo Fisichella (2003 Brazilian GP - 6th April) - Room 5 ft Oliver Cheatham - Make Luv

Fernando Alonso (2003 Hungarian GP - 24th August) - Blu Cantrell ft Sean Paul - Breathe

Jarno Trulli (2004 Monaco GP - 23rd May) - Frankee - F.U.R.B (F U Right Back

Jenson Button (2006 Hungarian GP - 6th August) - Shakira ft Wyclef Jean - Hips Don't Lie

Felipe Massa (2006 Turkish GP - 27th August) - Beyonce ft Jay-Z - Deja Vu

Lewis Hamilton (2007 Canadian GP - 10th June) - Rihanna ft Jay-Z - Umbrella

Robert Kubica (2008 Canadian GP - 8th June) - Mint Royale - Singin' In The Rain

Heikki Kovalainen (2008 Hungarian GP - 3rd August) - Dizzee Rascal ft Calvin Harris & Chrome - Dance Wiv Me

Sebastian Vettel (2008 Italian GP - 14th September) - Kings Of Leon - Sex On Fire

Mark Webber (2009 German GP - 12th July) - Cascada - Evacuate The Dancefloor

Nico Rosberg (2012 Chinese GP - 15th April) - Carly Rae Jepsen - Call Me Maybe

Pastor Maldonado (2012 Spanish GP - 13th May) - Rita Ora ft Tinie Tempah - R.I.P.

Daniel Ricciardo (2014 Canadian GP - 8th June) - Ed Sheeran - Sing

Max Verstappen (2016 Spanish GP - 15th May) - Drake ft Wizkid & Kyla - One Dance

Valtteri Bottas (2017 Russian GP - 30th April) - Clean Bandit ft Zara Larsson - Symphony

Charles Leclerc (2019 Belgian GP - 1st September) - Ed Sheeran ft Stormzy - Take Me Back To London

Pierre Gasly (2020 Italian GP - 6th September) - Cardi B ft Megan Thee Stallion - WAP

Sergio Perez (2020 Sakhir GP - 6th December) - Ariana Grande - Positions

Esteban Ocon (2021 Hungarian GP - 1st August) - Ed Sheeran - Bad Habits

Carlos Sainz Jr (2022 British GP - 3rd July) - Kate Bush - Running Up That Hill

George Russell (2022 Brazilian GP - 13th November) - Taylor Swift - Anti-Hero

Lando Norris (2024 Miami GP - 5th May) & Oscar Piastri (2024 Hungarian GP - 21st July) - Sabrina Carpenter - Espresso

And yes, I've created a Spotify playlist for these tunes 😊😊

#f1 #formula one #motorsport #f1 2024 #spotify #music #tunes #race winner number ones

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formlab · 2 years ago

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Piero Taruffi

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schismusic · 1 year ago

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Metroid Dread, Michael Mann's Ferrari and the flimsy-ass excuses I tried to find to connect them

Sometimes it just takes some honesty to get lack of creativity out of the way.

This waiting thing I'm not new at, not at all. I've done it very often. The earliest I can remember I was eleven and Tron: Legacy was about to drop in theaters. You bet your ass I got the soundtrack the very second it entered record stores. It was an aesthetic-defining moment. The kind of stuff that alters your brain chemistry permanently. When some friends who were in Venice told me Ferrari was a bad movie I felt all kinds of stomach-churning. I don't mean to be François Truffaut-like and pretend like all movies made by Michael Mann are automatically good, but I do have insane amounts of respect for the man as a filmmaker, and after what happened with Blackhat - in short: a really good movie sorely mistreated by audiences, critics and box office revenue - I was kind of hoping in some sort of smash hit. I really needed a W, so to speak.

In case you guys were wondering, I kinda dig Patrick Dempsey as Piero Taruffi.

Once again it just kind of floored me for a second. It wasn't too clear-cut right away. I don't think it's one of his best - too many things just don't align: the acting feels distracted and half-hearted and the inexplicably botched adaptation/voice acting job they distributed in Italy is even worse than that laughable fake Italian accent everyone has on all the time in the original; some of the dialogue is insanely out of focus and thematically off-center in a way no other Mann movie ever allowed for; sometimes it feels like the movie itself has to take the script back onto its central theme without losing itself to agiographic intents; the photography often felt a bit too painterly for the movie to have that same electrifying visual feel as (most recently) Blackhat or (most impactfully) Miami Vice. Crucially, something still felt off in a good way. What to make, for instance, of the sunglasses symbolism that instantly connects a movie set in the late '50s with the original cyberpunk aesthetic wherein “by hiding the eyes, mirrorshades prevent the forces of normalcy from realizing that one is crazed and possibly dangerous,” like Bruce Sterling himself said? Or again the cuts to the clutch pedal and then the gear stick systematically being interpolated when someone is driving? Or yet again the sheer sense of speed, the same speed of sand slipping through one's fingers, every shot conveys? When I came out of the theater (a local monoplex, almost deserted, mostly dedicated to films d'essai - incidentally also the only theater that showed the movie without me having to go to the Big City) some people I knew asked me what I thought of it and my very honest reply was "ask me in about ten years". There's absolutely no telling what future filmmakers and film historians will make of this: everything rests on the shoulder of future Mann movies. These intuitions here, not just the communication discourse (which, once again, is pretty typical of all Michael Mann movies, starting at the very least from The Insider) but this unique omissive/breathless style of storytelling and information conveyance, might make for another cutting-edge, literally breathtaking Michael Mann thriller soon: very soon, if the voices about Heat 2 being adapted to a movie turn into a reality.

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Yet ultimately at the heart of every horrifying car accident, the screaming contests, the bankruptcy threats, there sits an inconsolably pulsing heart that the movie resolves to show us exactly twice.

We were at my grandparents' for Christmas and as we drove through the town my father looked out of the car's window and saw an obituary with his last name on it. I didn't quite catch who exactly it was and how they were related to us - and rest assured they most likely were, it's an Abruzzo thing. As most of my family's deaths, as discussed on my Godflesh post, were on my mother's side, to see my father's last name on a mortuary announcement was a bit of a surprise, in that as you probably can imagine it's also my last name. It's a new experience which, in total frankness, I don't exactly hope to replicate soon.

Topically enough, right on Christmas morning my precious and beloved friends J. and A. gifted me a digital copy of Metroid Dread, a game I had basically lost any hope of ever playing. The Metroid series has always fascinated me in that, for a franchise as old and weathered and revered as Mario and Zelda, there's relatively few people - at least when I was a kid with no readily available internet access - who kept a memory of it. I first met Metroid as a middle schooler, via the Prime Trilogy collection a friend of mine had saved on his jailbroken Wii; never finished it but it stayed within me like a particularly revealing nightmare did. When I played Super Metroid at age eighteen that intro sequence burned itself on my prefrontal cortex and changed everything. It's a masterpiece that drives its main strength from the freedom to explore and delve deeper and deeper into it - and quite revolutionarily, the possibility of not doing so. To realize when enough is enough takes a special ability and knowledge of the self. To accept less than what would be enough takes either idiocy or excellently precise calculations and execution.

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While preparing for this post, I annotated on my phone's notes app that "Michael Mann would make a fantastic Metroid movie that everybody would hate". I know this because something similar already happened with Miami Vice: he systematically removed almost all signifiers of the original TV series to reprocess the core concept of it into a lean, aesthetically experimental, profoundly emotional film about means of communication reshaping the way crime and crime-fighters relate to each other, and the way the individual relates to sovereign organizations. It certainly helped that Michael Mann himself, as screenwriter-turned-director-turned-producer, was the man who defined the original Miami Vice's aesthetic, and therefore was in all likelihood the most qualified to strip it down to absolutely nothing, remake it from scratch to fit a new, apocalyptic vision of a post-9/11 society of control based on telecommunication.

In discussing Ferrari with @power-chords, she immediately pointed my attention onto just how critical the figures of mass communication turn to be throughout the movie. Journalists, priests, even the movie stars the pilots are dating. Michael Mann is moving into a territory of movies not about movies, but movies about media in general, sitting at the edge of communication breakthroughs, studying the intersection between an "old world" and a modern, contemporary, fucked up world. Unsurprisingly, Metroid Fusion (and to a lesser extent Metroid Dread itself) delve into omission, falsification, breaking down of information: there's fertile grounds for Mann to work with, I think.

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Most importantly, however, Metroid Dread is peak-form Metroid, combining the strength of the more exploration-based titles in the series with the thrilling combat-oriented difficulty spikes of Fusion. The new thing compared to, for instance, Samus Returns is how the game does not trivialize the enemy encounters in regular gameplay up until the very end, which by the way is nowhere close to a careless power trip. And even if it were, it'd still be more than warranted: the final boss is granted to give you unrequested cosmetic surgery to make you look like a dumbass. All the while Samus has never felt any better, movement is slick and deliberate, the 360-degree aiming is incredibly precise even taking the Joycon drift into account: and this precision eliminates almost all instances of rage-game bullshit when it comes to the EMMIs, the fighting, the jumping, the exploration, without by default trivializing any of the elements. It is, simply, a game feel miracle.

It feels about as glorious as it looks.

The deep knowledge of the gameplay mechanics of a great Metroid game is key to Mercury Steam's success with the central executives at Nintendo of Japan. Samus Returns didn't sell too bad, like most Metroid games (at least when you don't compare them to Pokémon, Mario or Zelda), but this here is just a quantum leap. All elements of the game, including the mechanical frameworks established in the 3DS game, are honed to a lethal degree: every enemy encounter, every instrument at the player's disposal turn out to be multifaceted, limited only by the player's own creativity and abilities. But the game knows how to help you, the player, hone those abilities too - it wants to be discovered. It entices you in further and further.

The game is majestic, in short. It knows itself, its players, its predecessors, even its stakeholders spectacularly well. And it is so thanks to employees who were forced to borderline inhumane working conditions, under threat to get their name scrubbed off the end credits if they didn't physically show up for work in the middle of a global pandemic.

"MercurySteam employees talk about the working conditions in the studio" - Spanish article from AnaitGames

During one of the earliest scenes in Ferrari, Enzo (Adam Driver) goes to Mass in the factory's own chapel, and together with all the racing department's higher-ups he proceeds to not give a damn about the function, keeping his eye on a stopwatch instead, monitoring the times Maserati's drivers are doing on the Modena racetrack. As the execs do this, the priest starts waxing poetic: "If Jesus was born today he would not be a carpenter. He would be a mechanic, like you are," says the uncaring bastard in a long dress to alienated, broken working men, facing - unbeknownst to them - the serious threat of bankruptcy, immediate liquidation, job loss. It took this movie about thirty years to get made, being passed from one producer to the next one, from one director to the next one, with this script that sort of tries to be a biopic with all of its strengths but is fundamentally tethered to a protagonist who's, ostensibly, Just Some Guy who happened to own half of one of the most famous car manufacturing companies on Earth. But the reason he was able to do that is, like one of my teachers points out in his Letterboxd review of the movie, his entirely-too-natural knack for timing. The precision Enzo Ferrari requires of his drivers, that quite literally lethal element of exertion, precision and composure, is what is required of him too, but this doesn't make him any better than anyone else: he's not the one dying, he's not the one crashing cars. Some of his friends did. He just got extremely lucky.

Informing the very concept of the labor of love is the idea, almost the aesthetic even, of the love of labor. Gaming culture is profoundly imbued with this. Crunch, stricter and stricter timelines: these are no news to anyone who's into gaming in an even remotely active manner, and are the byproduct of a culture based around hype - a profound affection that degenerates into pretense. Enzo Ferrari fashions himself a dictator, taking charge of the communication around his brand and purposely, painstakingly reshaping flows of information to operate according to a logistical nightmare of an inner timetable. Adalgisa Bisbini (Daniela Piperno) plainly states, with the brutal honesty that can only come with old age and immeasurable pain, that "the wrong child died", right behind her son's wife's back as they're visiting the family grave. Two graves marked Alfredo Dino Ferrari sit mirroring each other in an imposing structure in the San Cataldo cemetery, in Modena. Enzo Ferrari mourns them both, unknowingly echoing his mother's feelings. It is a circle of mutually inflicted pain where everyone already feels what they're being told, and yet it never stops: labor must ensue, so that the vestiges of love can ensue. No wonder Enzo and Laura Ferrari (Penélope Cruz) can only ever fuck on top of spreadsheets.

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The importance of an ashtray cannot be overstated.

#schismusic #cinema #videogames #ferrari #ferrari 2023 #michael mann #metroid #metroid dread #mercurysteam #nintendo #labor #love #random bullshit as usual #Youtube #schism writing #long form content

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maximumwobblerbanditdonut · 1 year ago

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Patrick Dempsey Is (Finally!) PEOPLE's 2023 Sexiest Man Alive: 'I've Always Been the Bridesmaid!' He Jokes

"I'm glad it's happening at this point in my life," says the 'Ferrari' actor. "It’s nice to have the recognition, but gives me the platform to use it for something positive."

By Julie Jordan Updated on November 8, 2023 07:12AM EST

It’s been almost two decades since Patrick Dempsey sauntered onto the small screen as neurosurgeon Derek “McDreamy” Shepherd on ABC’s Grey’s Anatomy (even longer since his breakthrough role as an endearing outcast in 1987’s Can’t Buy Me Love).

His heartthrob status created such a fan frenzy that he graced the pages of this very issue countless times over the years. Now he’s taking home the Sexiest Man Alive crown.

“I’m glad it’s happening at this point in my life,” the Maine native, 57, tells PEOPLE in this week’s cover story. “It’s nice to have the recognition, and certainly my ego takes a little bump, but it gives me the platform to use it for something positive.”

Closest to his heart is the Dempsey Center, which he founded in honor of his late mom to support cancer patients and their loved ones.

Other passions include being a family man to wife Jillian, 57, a makeup artist and founder of her own clean beauty line, and their kids Talula, 21, and 16-year-old twins Sullivan and Darby, as well as honing his penchant for race-car driving.

So what went through his mind when he first heard the news? “I was completely shocked, and then I started laughing, like, this is a joke, right? I’ve always been the bridesmaid!” he says, laughing.

“I’d completely forgotten about it and never even contemplated being in this position. So my ego is good.”

As for how his kids will respond, Dempsey insists they’re “just going to make fun of me and pick on me and figure out every reason why I shouldn’t be,” he says. “Which is good, they keep me young.”

In December he'll show off his racing skills in the Michael Mann–directed biopic Ferrari (which received an interim agreement from SAG-AFTRA amid the actors' strike), playing Italian driver Piero Taruffi. The film taught him a lesson in risk-taking — but off the track.

“I’d been following the movie for years, so I called Michael and said, ‘I want to discuss being a part of this,’ ” Dempsey recalls. “That taught me if you really want something, you have to do it yourself.”

Now the actor is learning that good things really do come to those who wait.

“I’ve got the bumper stickers, T-shirts, posters,” he jokes of his new title. Does this mean he’s peaked? “I peaked many years ago,” he says, laughing. “But I’m still here.”

Ferrari is in theaters Christmas Day. For more information on the Dempsey Center, visit dempseycenter.org.

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📸 Carter Smith § carterbedloesmith

Dr McDreamy - Finally right decision, He gets better with age, well deserved! ☺️

#Youtube

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frenchcurious · 1 year ago

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Piero Taruffi, Lancia D24 #0007, Scuderia Lancia TA, 1000 Miglia 1954. abandon (Perte d'huile). - source UK Racing History.

#piero taruffi #lancia #1000 miles

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retromania4ever · 1 year ago

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1957 Mille Miglia 🏁

Olivier Gendebien 🇧🇪 leans against his 250 Tour de France Berlinetta (#417), while Peter Collins 🇬🇧 (in striped ski hat) and Alfonso de Portago 🇪🇸 hold an animated conversation in front of their 335s Ferrari's. In the background Piero Taruffi 🇮🇹 (Winner)

#vintage car #antique car #automobile #supercar #old car #retrocar #old cars #mille miglia

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fantastica-daily · 1 year ago

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"Ferrari" Movie Review

Michael Mann’s long-awaited Enzo Ferrari biopic has finally come to fruition, starring Adam Driver as the eponymous historical figure. Set in a short but chaotic time period during 1957, “Ferrari” covers upheaval and growth in the Italian sportscar impresario’s 60th summer.

It’s 10 years into the Ferrari company’s existence and the end seems near, due to looming bankruptcy and the tragic death of the race team’s best driver following an accident during a practice run. Enzo’s personal life is also one of strife: his petulant but grudgingly loyal wife, Laura (Penélope Cruz), is inconsolable after losing the couple’s only son due to a sudden illness. What Laura doesn’t know—but everyone else does—is that her husband fathered another boy who could become the family heir. The child is living with his mother, Lina (Shailene Woodley), in the same town, and the illicit pair are supported by the meager Ferrari income while the production of the race fleet takes up the rest. But far from giving up or bowing out, Enzo decides to take a gamble and risk it all. As we all know from seeing the Ferrari brand alive and well to this day, his gamble pays off—but success comes at an awful price.

If you know your history, it isn’t a spoiler to say that Team Ferrari killed in more ways than one in Italy’s longest and most dangerous race, Mille Miglia (which was eventually banned). The wreck scene looks as extreme and shocking as it must have been in real life—the gory aftermath comes off more like a horror movie than a drama biopic… but Michael Mann’s meticulous attention to detail makes him the lauded and legendary filmmaker he is. Had this scene been glossed over, the emotional impact of what follows would have been lessened.

While Enzo himself was a sphinxlike, inscrutable figure with approximately two facial expressions in his emotive arsenal, Driver plays him with as much panache as possible for such a stoic man. Cruz’s Laura is the standout, featuring a range of emotions and refreshing humor, while the costars all bring their own talents and range to round out the cast. Real-life car racing enthusiast Patrick Dempsey plays the legendarily silver-haired competitor, Piero Taruffi, bringing singular authenticity to his portrayal by doing all of his own driving. What’s more, the screenplay is based on Brock Yates’ 1991 book, Enzo Ferrari: The Man and the Machine and the research shows.

“Ferrari” is dark, dour, and perhaps more depressing than one might hope but it’s an admirable deep-dive into a short but pivotal time in motor and race history. “Ferrari” is well worth seeing on the big screen when it’s released on Christmas Day.

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S.L. Wilson

#Ferrari Movie Review

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