Adam Driver gives an icy, fantastic performance as Ferrari—one that seems likely to be dismissed because of another iffy Italian accent. Get over it. Ignore the reminders of “House of Gucci” and admire the subtle choices Driver makes here to humanize a man who could have been a complete cipher. Martin’s nuanced script gives the Oscar nominee plenty to work with, alternating scenes of what could be called the machine and the man. Ferrari is portrayed as a ruthless genius, but he also seeks counsel from his dead son, and is clearly painted as a hero to his people. At church, he is directly compared to Jesus, a carpenter who would be working with metal today. Is it any wonder Ferrari feels the pressure of perfection?
As it often does in Mann films, pressure leads to emotional distance. Almost everyone in Ferrari’s world is disposable—drivers, lovers, employees, etc. Driver captures how Ferrari tries to hold onto affection for the two women in his life: His wife Laura (Penelope Cruz) and his mistress Lina (Shailene Woodley), with whom he has a child. He recently lost the son he had with Laura, leading to a blanket of grief that hangs over the entire film, especially in Cruz’s stunning performance as a woman who has had enough of her husband’s icy detachment. If Driver is the cold steel of “Ferrari,” Cruz is the fire coursing through this film’s engine. It’s one of the best performances from one of the best actresses of her generation.
“Ferrari” unfolds in 1957 as the title character approaches 60 and struggles to maintain his grip on the industry he revolutionized. He’s a hero in Italy, but it’s tough to wear the crown. The film opens with an effort to break a speed record, something that Ferrari knows could be devastating for a company that’s already battling bankruptcy. The company Ferrari at this point is too focused on sports cars and not the production of vehicles that can be sold to keep it in business. It’s a film about an older man considering his own legacy in the wake of losing an heir, having another heir that he can’t recognize publicly, and the understanding that being a modern-day Jesus comes with certain expectations.
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