Ford v. Ferrari is a well-oiled vehicle for the charm of its star.
, who here is finally allowed to reveal his native English accent). He’s only headstrong because he’s right. That doesn’t stop him clashing with the suits at Ford, particularly the unctuous conformist Leo Beebe , who seems to resent Miles and the slightly more diplomatic Shelby on principle. But the conflict between them feels ginned up and shallow, a stock confrontation between rebellious achievers and the company men who want to hold them back.
It’s apt that the movie’s focus is on long-haul endurance races, particularly the 24 hours of Le Mans, which tests not just a racer’s speed but the driver’s consistency. Mangold is rarely an exciting director, but he’s matured into an accomplished journeyman, like the Hollywood directors who were revered before the auteur theory shifted the criteria.
It would be stretch to even call it subtext, but it’s worth noting, even if the movie doesn’t, that both Ford and Ferrari had associations with European fascism: Henry Ford was an
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