OSCARS 2020: Ford v. Ferrari (2019)

While I've never been especially interested in it, I understand why filmmakers have been repeatedly drawn back to the topic of race cars. It's an inherently cinematic concept. Things that go fast are exciting to watch. The chance for wrecks and explosions makes for good spectacle. The premise of a race – one person trying to get a location before anyone else – is as about as simple and compelling as narratives get. And there's potential for an underdog story there too, which people also historically love. When you combined these factors with a true story, a respected filmmaker, and some beloved actors, it's no surprise “Ford v. Ferrari” has become a frequent presence on this year's award show circuit.

In 1963, Ford Motor Company tried to buy Ferrari, the iconic but broke sports car company, in hopes of injecting some coolness into their stale brand. The plan backfires when Enzo Ferrari rejects the offer and insults Henry Ford II. Incensed, Ford instructs his company to build a race car that will defeat Ferrari's racing division at Le Mans, the world-famous 24 hour long race.  Carroll Shelby, a driver-turned-designer, is recruited to achieve this task. He soon teams up with Ken Miles, an ingenious but short-tempered British racer and mechanic. The duo set out transforming the Ford GT40 into a race-winning car. They will face challenges and risk their lives on the path to Le Mans.

A key moment in “Ford v. Ferrari” that was featured in all the trailers involves Shelby and Miles getting into a sloppy, wrestling-on-the-ground fist fight. In the context of the movie, we see that this springs out of a disagreement the two hot-headed guys had and that, afterwards, they calmly discuss their differences. (And their history of coming to blows in similar ways.) This scene sums up “Ford v. Ferrari's” entire appeal. This is a Dad-tale of two blustery Dads who refuse to compromise on much, learning to put aside their Dad-differences and make Dad-history together. Watching two guys who are charming, not just in spite but frequently because of their pig-headedness, forge a friendship is actually pretty damn fun. We've all dreamed of a father who actually gets shit done, despite his goofy macho tics, and “Ford v. Ferrari” indulges that fantasy.

Even if it didn't have a compelling Dad-charm of its own, “Ford v. Ferrari” would probably still be a good film for the way it addresses how personal and corporate ambitions meet. Shelby and Miles, through the film, are trying to please two separate masters. On one hand, they have to capitulate to the Ford Motor Company's demands. On the other, they have their own personal pride to please. Miles longs to be the best racer in the world, while Shelby – no longer able to race himself due to a heart condition – hopes to vicariously share in. This duality comes to a head in two important moments. Most explicitly during the climax of Le Mans but most touchingly when Shelby takes Ford for an uproarious ride, which reduces the stately voice of authority to tears. Anybody who has suffered under corporate demands, while trying to make art that can satisfy themselves, can relate to this struggle.

Director James Mangold, of previous Dad-fave “Walk the Line,” also directed “The Wolverine” and “Logan.” So he's in the rare position to direct both an awards-friendly biopic and a thrilling action picture. Which “Ford v. Ferrari” definitely is. The race car sequences have exactly the quality of speed you'd expect. The dangers of high-speed racing are especially emphasized, when squeezing around another vehicle or the brakes glow red hot. Once the protagonists get to Le Mans, the film only grows more exciting. In one stand-out shot, Mangold's camera takes the perspective of the GT40 as the wreckage from another car sails overhead. The audience is made to feel the intensity of the velocity, the impact of the crashes, to the best of the film's ability.

Naturally, a big aspect of “Ford v. Ferrari's” particular charm is its lead performances. Christian Bale is in his comfort zone, in the role of a risk-taking genius that isn't much of a people person. Yet Bale is extremely good as this kind of thing, managing to make Miles both a lovable figure for his stubbornness, his technical know-how, and his own unique insight into the world... Even when he's throwing wrenches at people's head. Matt Damon maybe gives my favorite performances of his out of everything I've seen him in. Damon makes Shelby a guy who can see a clear path to victory, who doesn't let set-backs keep him down too much. Damon's affability has never been used better before. Among the supporting cast, Caitriona Balfe has excellent chemistry with Bale, as Miles' wife, and Tracy Letts makes Henry Ford II into a fully formed character.

Ultimately, “Ford v. Ferrari” is way more entertaining than it had any right to be. The movie resists all the stale pomp-and-circumstance you associate with the prestigious awards bait biopic genre. Instead, it's a refreshingly down-to-earth tale of stubborn dudes fighting for artistic victories. Yeah, it's still too long, with a largely unnecessary epilogue. But a set of strong performances from Bale and Damon, as well as some truly virtuoso film making from Mangold, results in a movie that's almost irresistible in its rascally, avuncular appeal. Expect this to become a favorite of fathers everywhere, occasionally to be enjoyed with their sons as well. Even the ones that aren't motorheads. [8/10]