My word, that crash will haunt me. Anyway, it's interesting that everyone assumes that the title of the film is referring solely to grande uomo Enzo, but the film's title could equally be referring to Laura Ferrari, especially when we consider Cruz' performance. Or perhaps more plausibly, it should be taken to mean the Ferrari family as a dynasty. It was kinda fun to see the reference The Godfather's famous baptism/assassination cross-cutting, but I think Ferrari cashes that cheque too early, especially as the text of the eulogy is bluntly equating Enzo with Jesus. Great sound.
The Ferraris upend any tired notion of “behind every great man there’s a great woman.” Instead, Mann negotiates a harsher interpretation of such infamous marriages, where a great man’s life is built atop the exhausted remains of his heartbroken wife.
— Anna McKibbin (Paste Magazine)
Time slows down as a young driver we have followed barrels toward the horizon, seizing an opportunity—when, in slow motion, we see his wheel clip on a road stud, spinning his car into a crowd of onlookers. Dozens go down in an instant, the bodies of children we just saw eating breakfast spinning into the air. The camera is unsparing, salacious even, as it surveys the wreckage of their bodies, bisected across the asphalt. There isn’t a scene like it in Mann’s decades of filmmaking. Like Pacino’s character in Heat, Mann sees every corpse as a human, with parents, kids, dreams. And yet never before has the collateral damage of a Mann man’s drive for greatness been relayed with such abject horror.
— Clayton Purdom (Los Angeles Review of Books)
Synopsis: Set during the summer of 1957. Ex-racecar driver, Enzo Ferrari, is in crisis. Bankruptcy stalks the company he and his wife, Laura, built from nothing ten years earlier. Their tempestuous marriage struggles with the mourning for one son and the acknowledgement of another.