Ferrari (2023)★ 6.3/10

Poorly written female characters aside, there is some good to this movie. It's visually stunning! And the story of old-man Ferrari (played by Driver) is fascinating. Plus some great shots of old-school racing. A great watch for any motor head.

The film effectively portrays both Ferrari's emotional and professional life, showcasing his dedication to his racing dreams. However, the ending feels rushed, leaving questions about how Ferrari wins his court case, overcomes financial crises, and resolves issues with his wife.

Michael Mann delivers a solid performance even outside of his comfort zone. This film, simlar to Napoleon, is a biopic that delves into the complexity of its protagonist and faithfully recreates its historical period. It focuses on the character of Ferrari and is not a typical racing film, with the racing scenes being particularly realistic.

Crafting a compelling biopic is no easy feat, as the complexities of real life often don't align with the demands of commercial cinema. Michael Mann's approach in "Ferrari" reminds me of Clint Eastwood's style; he transforms the mundane aspects of public figures' lives into a spectacle, prioritizing gossip-worthy moments, while the depiction of the car crash has been reduced to a mere wow factor.

Michael Mann once again demonstrates his solid skills, presenting a finely crafted biopic that delves into family emotions and career. The first two acts, even heavy on dialogue, still manage to maintain the audience's interest, while Mann's directorial prowess truly shines during the third act, which unfolds during the 1957 Mille Miglia road race. Unfortunately, Mann still seems to have reservations about Daniel Pemberton, his composer, which costs him his opportunity to truly stand out.

This biopic tries to take a bite that is way too big for it to chew on at the source material, resulting in a draggy and bland recount. The portrayals of car racing and extramarital affairs feels dull, and the character development in individual story segments fails to leave vivid impressions. Although it tries to delve into topics like "the risks of racing," "gambling," and "self-destruction" through rally racing in the latter part. There seems to be a lack of core message holding these elements together. It almost feels as if these plot points could be applied to any famous family business.

Michael Mann aims to portray the daily struggles of an entrepreneur as he navigates career and family crises, all the while critiquing the darker aspects of human nature under the relentless pursuit of wealth and power. The film is infused with a pervasive sense of anxiety and confusion right from the outset of a mourning scene. Mann carefully maintains this atmosphere, even tightly controlling the adrenaline in the thrilling car chase scenes. However, as he tries to zoom in on the characters' emotions, he fails to explore their connections and underlying motives, resulting in a drawn-out pacing. Only when the protagonist faces a lawsuit and accusations following a race car driver's death does he hastily realize the significance of his family's support and understanding. But by then, it's too late to get emotional about it as the audience.

Compared to other Hollywood biopics this year, this one is still worth watching. But that doesn't mean it's outstanding. The movie simply focuses on a specific part of the protagonist's life, unlike most straightforward biopics out there. Furthermore, it's narrated in a particularly safe and steady manner, almost ensuring it doesn't flunk.

Michael Mann mais uma vez demonstra suas sólidas habilidades, apresentando uma cinebiografia primorosamente elaborada que mergulha nas emoções familiares e na carreira. As duas primeiras partes, mesmo com muitos diálogos, ainda conseguem manter o interesse do público, enquanto a habilidade de direção de Mann realmente brilha durante a terceira parte, que se desenrola durante a corrida Mille Miglia de 1957. Infelizmente, Mann ainda parece ter reservas em relação a Daniel Pemberton, seu compositor, o que lhe custa a oportunidade de realmente se destacar.

Esta cinebiografia tenta abocanhar muito mais do que consegue mastigar do material de origem, resultando em uma recontagem arrastada e sem graça. Os retratos das corridas de carros e dos casos extraconjugais parecem enfadonhos, e o desenvolvimento dos personagens em segmentos individuais da história não deixa impressões vívidas. Embora tente se aprofundar em tópicos como "os riscos das corridas", "jogos de azar" e "autodestruição" através das corridas de rally na última parte, parece faltar uma mensagem central que mantenha esses elementos unidos. É quase como se esses pontos do enredo pudessem ser aplicados a qualquer empresa familiar famosa.

Michael Mann pretende retratar as dificuldades diárias de um empreendedor enquanto enfrenta crises profissionais e familiares, ao mesmo tempo em que critica os aspectos mais sombrios da natureza humana na busca incessante de riqueza e poder. O filme tem uma sensação generalizada de ansiedade e confusão desde o início de uma cena de luto. Mann mantém com cuidado essa atmosfera, controlando até mesmo a adrenalina nas emocionantes cenas de perseguição de carros. No entanto, ao tentar ampliar as emoções dos personagens, ele não consegue explorar suas conexões e motivos implícitos, resultando em um ritmo arrastado. Somente quando o protagonista enfrenta uma ação judicial e acusações após a morte de um piloto de corrida é que ele percebe a importância do apoio e compreensão de sua família. Mas a essa altura, é tarde demais para o público se emocionar com isso.

Comparado a outras cinebiografias de Hollywood deste ano, ainda vale a pena assistir a este filme. Mas isso não significa que seja excelente. O filme simplesmente foca em uma parte específica da vida do protagonista, ao contrário da maioria das cinebiografias que existem. Além disso, é narrado de uma maneira particularmente segura e constante, quase garantindo que não seja reprovado.