Set in the summer of 1957, the film revolves around a crucial period in the life of Italian car manufacturer Enzo Ferrari as he deals with his company going into bankruptcy with a race set to start as he also deals with trying to shield his wife over the fact that he has another child in his relationship with his mistress. It is a film that plays into a man who is trying to maintain some control in his life even though his relationship with his wife Laura (Penelope Cruz) is crumbling even though she continues to handle the business end of their company where she would make a discovery about certain finances that have been kept from her. All this plays during a time where Ferrari and his team are trying to refine and perfect their Formula One car for the upcoming Mille Miglia race with the rival company Maserati trying to steal all the attention from Ferrari. The film’s screenplay by Troy Kennedy Martin, with additional work by Michael Mann and David Rayfiel, is straightforward in its narrative as it focuses on this summer of 1957 as it had been a decade since the founding of the company but also one year since the death of Enzo and Laura’s son Dino.
Throughout the film, Ferrari focuses on perfecting his car while he spends time with Laura for business as well as his mistress Lina Lida (Shailene Woodley) and their son Piero (Giuseppe Festinese) who lives in another house away from the city of Modena. The arrival of Spanish racer Alfonso de Portago (Gabriel Leone) would give Ferrari some new blood for his racing team that includes the veteran Piero Taruffi (Patrick Dempsey) and the British racer Peter Collins (Jack O’Connell) though Ferrari is uneasy over the fact that de Portago is dating actress Linda Christian (Sarah Gadon) as he believes that drivers accompanied by women are cursed. The film’s script also play into the drama in a brief flashback montage of Ferrari’s life with Laura early on with their son Dino but also how Ferrari saw Lina just in the aftermath of World War II as he met her during that time. It would play into this drama that would occur where Ferrari considers doing a partnership with either Fiat or Ford to resolve any of the financial matters while also making a deal with Laura over its future.
Mann’s direction is stylish in the way he opens the film with black-and-white stock footage with a young Ferrari driving his car in the race as it plays into a man who was a decent racer but knew a lot about cars. Shot on various locations in the city of Modena and Brescia as well as additional shots in Rome and parts of Northern Italy. Mann creates a film that plays into this crucial period just more than a decade after World War II ended as Ferrari is part of the reason for the post-war economic boom. Yet, Mann would infuse a lot of unique visuals to play into the drama as well as these intense moments during the driving scenes where Mann’s usage of the close-ups and the small details to locations and how fast a car was back in 1957 showcase a lot into what Ferrari wants as well as wanting to push the envelope of what can be done in racing. While there are some wide shots of the various locations including the scale of the races including Mille Miglia. Mann would emphasize close-ups and medium shots to play into the drama and the suspense in the film as it relates to Ferrari’s personal life such as Laura driving up to the home where Lida lives in as well as an opera scene that leads to a montage of flashbacks.
The racing scenes has Mann at his most meticulous where he plays into what the mechanics, engineers, and others do to ensure that not only the car works but also to ensure that nothing goes wrong. Even as the film’s third act that revolves around the Mille Miglia where Mann also goes into detail of the race itself as it is this open-road endurance race that goes on for a thousand miles throughout Italy. There is a key sequence in the film that does play into what happened at the race where it would have Ferrari face a lot of things over what had happened. It adds to the drama of a man that is trying to save his company where it would be Laura who would decide about what to do for the company but also in his personal life as it relates to Lida and Piero. Overall, Mann crafts an exhilarating and somber film about a period in the life of one of the greatest car manufacturers of the 20th Century.
Cinematographer Erik Messerschmidt does brilliant work with the film’s cinematography with its usage of natural lighting for many of the daytime exterior scenes as well as some unique lighting schemes and textures for the interior/exterior scenes at night. Editor Pietro Scalia does excellent work with the editing with its usage of jump-cuts as well as some montages and allowing shots to linger to create some rhythmic cuts to add some intensity to the drama. Production designer Maria Djurkovic, with set decorator Sophie Phillips and supervising art director Stephan O. Gessler, does amazing work with the look of the home where the Ferraris live in as well as the villa that Lida and Piero live in and the raceway and factory that Ferrari works at. Costume designer Massimo Cantini Parrini does fantastic work with the costumes in the suits that Ferrari wears as well as the stylish dresses that the women wear at that time.
Hair & makeup designer Aldo Signoretti does terrific work with the look of the characters from the hairstyle of Ferrari including how he and his wife looked more than a decade ago along with the look of Taruffi with his white-haired look. Special effects supervisor Uli Nefzer and visual effects supervisor David Sewell do superb work with the visual effects from the opening shots of the film to the car crash scenes in the film. Sound editors Tony Lamberti and Bernard Weisner, along with sound designer David Werntz, do incredible work with the sound in the way an engine sounds up close and from afar as well as the way crowds are heard and other sparse sounds as it is a major highlight of the film. The film’s music by Daniel Pemberton is wonderful for its mixture of orchestral bombast along with some somber themes to play into the drama with the rest of its soundtrack featuring the Italian pop music of the time as well as opera music and other score pieces from Lisa Gerrard and Pieter Bourke.
The casting by Francine Maisler is marvelous as it feature some notable small roles from Benedetto Benedetti as the Ferraris’ late son Dino, Gabriel Noto and Edoardo Beraldi as the younger versions of Dino from the flashbacks, Daniela Piperno as Ferrari’s mother who doesn’t like Laura, Jonathan Burteaux as King Hussein of Jordan who is at the Ferrari offices to buy a car, Ben Collins and Wyatt Carnell as a couple of Ferrari team drivers in Stirling Moss and Wolfgang von Trips respectively, Tommaso Basili as Fiat’s head Gianni Agnelli, Marino Franchitti as a Ferrari driver in Eugenio Castellotti, Valentina Belle as Castellotti’s girlfriend Cecilia Manzini, Giuseppe Bonifati as an executive at Ferrari, Domenico Fortunato as Maserati owner Adolfo Orsi, Lino Musella as car designer Sergio Scaglietti, Michele Savoia as engine designer Carlo Chiti, and Giuseppe Festinese as Ferrari and Lina Lida’s son Piero who begins to understand his identity while also interested in his father’s work as he would eventually become the vice chairman of Ferrari.
Sarah Gadon is fantastic in a small role as the actress Linda Christian who is also de Portago’s girlfriend at the time where she helps bring in some publicity but also a moment that would be remembered in infamy. Jack O’Connell is excellent as Peter Collins as the British driver who works for Ferrari as he is a skilled driver that prefers to keep his own personal life at a distance during racing season. Patrick Dempsey is brilliant as Piero Taruffi as a veteran driver who knows about what to do while also is an eccentric that likes to smoke while driving as Dempsey brings a lot of charm despite the awful hairdo he had to sport. Gabriel Leone is amazing as Alfonso de Portago as a Spanish driver who would join Ferrari as he is someone that knows how to beat the drivers at Maserati while is also determined to prove his worth despite having Christian around him. Shailene Woodley is incredible as Lina Lardi as Ferrari’s mistress whom he had met back in World War II as she is also the mother of their son Piero as she is concerned with her son being called Ferrari while also making sure that Enzo remains grounded despite not having met Laura.
Penelope Cruz is tremendous as Laura Ferrari as Enzo’s wife and business partner as she is a woman that manages and oversees all the business and financial transactions for the company while becomes unhinged over discovering some transactions she did not know about as it would lead to her discovery of Lina and Piero. Cruz’s performance is full of fire as a woman still consumed with grief over the loss of her son as it is a performance of immense intensity while also trying to figure out how to save the company where she would make a deal that would save the company but with a condition as it relates to her own life. Finally, there’s Adam Driver in a phenomenal performance as Enzo Ferrari as the car manufacturer who is dealing with a lot in his life while still reeling from the loss of his eldest son Dino a year ago as well as losing his own company. Driver’s performance displays a lot of nuances of a man that is trying to devote time to his other son but also his business as it is one of his finest performances of his career so far.
Ferrari is a sensational by Michael Mann that features great performances from Adam Driver and Penelope Cruz. Along with its ensemble supporting cast, intoxicating visuals, immense sound work, and study of a man facing grief and impending loss of everything. It is a film that does not play by the rules of the bio-pic while also being a study of a man trying to maintain some control despite his back against the wall as he tries to salvage all that he has left. In the end, Ferrari is a spectacular film by Michael Mann.
Michael Mann Films: The Jericho Mile - Thief (1981 film) - The Keep - Manhunter - L.A. Takedown - The Last of the Mohicans (1992 film) - Heat - The Insider - Ali
- Collateral - Miami Vice - Public Enemies - Blackhat – (Heat 2)
Related: Ford v Ferrari - The Auteurs #73: Michael Mann Pt.1 – Pt. 2
© thevoid99 2024
Originally Written and Posted at Epinions.com on 3/23/08 w/ Additional Edits.
Directed by Kevin Lima and written by Bill Kelly with narration by Julie Andrews, Enchanted tells the story of a princess-to-be from a 2-D animated world who is suddenly thrown into a magical portal by a witch. Suddenly, the girl enters the real-life, live-action world of New York City as she meets a single father whom she befriends while her dim-witted prince decides to enter New York City to save her. The film is a genre-bender that is part family-film, part-fantasy, part-2D animation, part-comedy, and part-musical that is in the tradition of the Walt Disney films of the past that features the award-winning team of composer Stephen Schwartz and lyricist Alan Menken who wrote several classic tunes for Disney films like The Little Mermaid and Beauty and the Beast. Starring Amy Adams, Patrick Dempsey, James Marsden, Timothy Spall, Idina Menzel, Rachel Covey, and Susan Sarandon. Enchanted is a delightful, charming, and magical film from the Walt Disney company.
In the world of Andalasia, a princess-to-be named Giselle (Amy Adams) is waiting for the day for her true love to come. Meanwhile, the young yet dim-witted Prince Edward (James Marsden) is battling a troll with the help of Nathaniel, the longtime minion to Edward's stepmother Queen Narissa (Susan Sarandon). Edward saves Giselle from a troll and the two are destined to become wedded and Giselle, a princess. Narissa however, has plans on her own as she disguises herself as an old witch who pushes Giselle into a waterfall fountain where she finds herself in the harsh, cruel world of real-life New York City. Lost and confused, Giselle finds a castle billboard as she attracts the attention of a divorce lawyer named Robert (Patrick Dempsey) and his six-year old daughter Morgan (Rachel Covey).
Robert is confused by Giselle's whimsical, joyful behavior until she sleeps in his couch. The next morning, Giselle wakes up to clean Robert's home to his own shock with the help of pigeons, flies, and rats as he is bewildered by Giselle's behavior. Especially in front of his fiancee Nancy (Idina Menzel). Meanwhile, Edward learns that Giselle is in another world as with the help of Nathaniel (Timothy Spall) and a chipmunk named Pip, they enter New York City. Yet, Edward's chivalry is unaware that Nathaniel is sent to poison Giselle for Narissa. Robert however, is still confused by Giselle's unique personality as she sings all over the place while trying to tell her about the real world and such. With Edward still searching for Giselle, he becomes amazed by what the real world has to offer while Nathaniel begins to question his own role after his attempts to poison Giselle had failed repeatedly.
When Edward learns of Giselle's whereabouts, he continues his quest while Giselle suddenly starts to fall for Robert despite his no-nonsense, cynical view on the world, love, and such. Edward finally arrives as Giselle is with her prince but becomes confused of whether she wants to be Edward or Robert. Upset over the union of Giselle and Edward, Narissa decides to take matters into her own hands as she arrives to New York City in style. With Nathaniel forced to help her out, she decides to pull another old trick on Giselle as her own feelings for who her true love is becoming more confusing. Yet, when Narissa finally revealing herself, she decides to create her own ending only to realize, this isn't some ordinary fairytale.
While the fairytale films of Disney from years past can be considered fluff and passe in comparison to the harsh realities of the world. It should be noted that the real-world sometimes needed to be slapped with a dose of happiness. Here is a film where those great Disney films of the past are given a chance to look themselves in the mirror and make fun of themselves at the same time. Yet, what this film is really about is a princess-to-be who has always known a world that's been sheltered in all of her life. Yet, when she comes into this other world that is much harsher, colder, and very cynical. She tries to deal with it the best she could through song, cheerfulness, and curiosity. The result is that she brings a new kind of hope to a man filled with cynicism and no-nonsense to believe that it's okay to bring a bit of fantasy into the real world.
Credit must go to screenwriter Bill Kelly and director Kevin Lima for creating a charming, whimsical film that mixes a lot of genres. Kelly's screenplay is excellent for its structure, twists, character development, and most of all, references to other classic fairytales. Lima's direction is superb from the use of animation with its peppy, delightful 2-D, hand-drawn animation style to its colorful, live-action sequences. Lima's work in some of the film's dance and musical numbers is truly magical from the use of wide lenses to capture the scope of the dance numbers. The result is truly a film that lives up to Disney's magical reputation.
Cinematographer Don Burgess creates a colorful look with the film's daytime exteriors shot on location in New York City while the nighttime, interior shots are wonderfully intimate with low lighting set-ups to create an atmosphere that is true to the tone of the film. Editors Stephen A. Rotter & Gregory Perler do an excellent job with the film's pacing and rhythm for the film's musical sequences as scenes that match up with one scene to another. Production designer Stuart Wurtzel with art director John Kasarda do an amazing job in creating the film's sunny, colorful look on location in New York City as well as the ball scene. Costume designer Mona May does a superb job with the filmls costumes that included the huge gown that Giselle wears on her arrival to the city, her curtain-made dress, the sunny dress, and gown as well as the princely clothes that Edward wears along with Queen Narissa's gown that is true to her villainy.
Makeup artist Bill Corso does a great job with look of Susan Sarandon's Queen Narissa look as the old hag that makes Sarandon look unrecognizable. Animation supervisor James Baxter and his team do a superb job with the 2-D hand-drawn animation that is true to the look and style of Disney films of the past. Visual effects supervisors Brennan Doyle and Thomas Schelesny do a great job with the visual effects design of the character of Pip in NYC as well as other visual effects for the film's climatic third act. Sound editor Dennis Leonard does a great job with the film's sound to capture some of the film's moments of fantasy and adventure.
The music of Stephen Schwartz and lyricist Alan Menken is top-notch that includes a sweeping, dazzling score that plays to the film's whimsical tone. Yet, it's the original songs that Schwartz and Menken that really shine. From the sweeping True Love's Kiss performed by Amy Adams and James Marsden, the comically divine Happy Working Song and calypso-flavored That's How You Know both sung by Adams, the ballad So Close sung by Jon McLaughlin, and the country-pop song Ever, Ever After by Carrie Underwood. The soundtrack is truly a standout and definitely a joy to listen to thanks to the team of Schwartz and Menken who both prove they still have a magical touch.
The casting by John Papsidera, Marcia Ross, and Susan Shopmaker should be noted for its assembly of talent that includes cameo appearances from three actresses who are famous for voicing famed Disney heroines, Jodi Benson of The Little Mermaid as Robert's secretary Sam, Paige O'Hara of Beauty & the Beast as a soap opera actress Nathaniel watches, and Judy Kuhn of Pocahontas as a pregnant woman with children. Other memorable small appearances from Marilyn Sue Perry as a bus driver whom Edward annoys, Tonya Pinkins & Isaiah Whitlock, Jr. as a divorcing couple Robert is handling, and in the voices of Pip, Jeff Bennett as Pip in Andalasia and director Kevin Lima as the squeaky-voiced Pip in NYC. Broadway actress Idina Menzel is good as Robert's girlfriend Nancy who is bewildered by the appearance of Giselle while trying to commit with Robert.
Rachel Covey is adorable as Robert's six-year old daughter Morgan who is trying to find a sense of excitement from the realities that her father is trying to prepare her for. Timothy Spall is delightful as the sniveling, cowardly Nathaniel who is doing the Queen's deeds while in NYC, begins to question his own role and self-respect. James Marsden is delightfully funny as the dim-witted, narcissistic Prince Edward who always go into song while being completely clueless to everything. Marsden's smile, winning performance is fun to watch as the actor is showing his versatility from action roles like the X-Men films to the recent Hairspray musical film.
Patrick Dempsey is wonderfully low-key as the cynical Robert who proves to be a great foil for Giselle as Dempsey is also charming and intelligent in being the romantic lead as the actor continues his winning ways following his comeback role on the TV show Grey's Anatomy. Though her appearance in the film is only 20-minutes, Susan Sarandon makes the most of her appearance as Queen Narissa with a great, slimy performance as Sarandon seems to enjoy herself in playing a villain as her performance is fun to watch.
Finally, there's Amy Adams who delivers a performance that lives up to the film's title description. Fresh off from her Oscar-nominated role in 2005's Junebug, Adams carries this entire film with such wit, charm, innocence, and humor. From the way she smiles to how she reacts innocently to newfound situations, it's a performance that obviously cannot be enjoyed for someone, even the most cynical performance. Adams' versatility also proves that she can sing very well as she just shines from scene to scene. Adams also proves that she is capable in being dramatic while having great chemistry with Patrick Dempsey and Rachel Covey in their own individual scenes as she brings a lively character with such charisma and bravado, it's hard to not to smile in everything she does. After toiling in obscurity in small roles like Drop Dead Gorgeous, Psycho Beach Party, and Catch Me If You Can, Amy Adams gives a performance that is surely going to make her a household name.
Enchanted is a delightful, entertaining, and joyful film that lives up to its name and description thanks to the talents of director Kevin Lima, screenwriter Bill Kelly, songwriters Stephen Schwartz and Alan Menken, and Amy Adams' dazzling performance. Fans of Disney films will no doubt enjoy the film for its humor and homage to the genre while families will enjoy it for its squeaky-clean yet charming tone. In the end, for a film that is a real feel-good film that does its job to entertain and make everyone feel smile, Enchanted is the film to go see.
© thevoid99 2013
