Ford v Ferrari
The old adage “fact is stranger than fiction” applies more to crime dramas like CSI and Dateline, but in the case of Ford v Ferrari fact can be more fascinating than fiction, and is certainly a heck of a lot more entertaining than much of what Hollywood has been delivering recently. While the physical 4K Blu-ray will arrive February 11, the 4K HDR version is available for download from the Kaleidescape Store now, which is how I watched.
The film’s plot is pretty simple: Ford is in the midst of one of its longest sales slumps in years and looking for a way to re-energize the brand and make its cars relevant to Baby Boomers, who are coming of age and looking for something more exciting to drive. Lee Iacocca’s (Jon Bernthal) solution is to tie the Ford name to winning, specifically at the grueling 24 Hours
of Le Mans where Ferrari had long ruled the throne, including a string of six wins in a row. When Ford’s bid to purchase Ferrari (who “builds fewer cars in a year than Ford does in a day!”) is rudely rebuffed by “il Commendatore” Enzo Ferrari (Remo Girone), Henry Ford II (Tracy Letts) decides to go all-in on winning Le Mans, spending whatever it takes, and hiring the top race-car designer, Carroll Shelby (Matt Damon) to put together a car and team helmed by veteran British driver Ken Miles (Christian Bale).
If you avoided FvF during its theatrical run because you’re not a car lover or a racing fan, rest assured this film still offers plenty to keep you engaged through its just over two-
and-a-half-hour runtime. Watching history unfold with a story not many outside the auto or race industry are familiar with is interesting enough, but the dynamic between Shelby and Miles is the engine that truly drives this film.
Of course, car and race fans will appreciate the movie on a different level (a higher gear?), reveling in the technical details of car design and race mechanics, the lore of Scuderia Ferrari S.p.A., and what it took for Shelby and Miles to fight Ford’s corporate culture to create a car many felt the company simply incapable of producing.
The film is up for four Academy Awards—Picture, Editing, Sound Mixing, and Sound Editing—and Bale received a Best Actor Golden Globes nomination. And, further speaking to its broad appeal, it received a Rotten Tomatoes “Certified Fresh” rating of 92, with an Audience Score of 98.
Shot in ArriRaw at 4.5K resolution, FvF is taken from a true 4K digital intermediate; and the movie looks terrific, with tons of detail and texture in every scene. The images aren’t overly enhanced with unnatural sharpness, but use every pixel for truly high-resolution visuals that bristle with detail. In an early scene where Bale is working on a car wearing a shirt with a tiny and tight check pattern, you can see every fine square. Closeups show every pore and line in actors’ faces, and the paint jobs on the cars have a glossy, liquid sheen. You can also appreciate the various textures in different suit and shirt fabrics and interiors.
Many of the scenes are shot outdoors, and the day scenes frequently have the sky in that certain shade of powder blue that reveals a bit of digital noise, but this just gives the images a more film-like quality. While HDR isn’t used aggressively, it does provide wonderful shadow detail, adding depth and dimension. Night race scenes benefit in the form of deep blacks while still showing bright headlights. And I’m not sure that the Ferrari’s rosso corsa color actually pushes the boundaries of the wider color gamut, but it does pop off the screen.
Beyond these visual qualities, it is the director James Mangold’s (Logan, 3:10 to Yuma, Walk the Line) dynamic filming style, angles, and editing of the racing scenes that make FvF so exhilarating. I frequently had to remind myself I was supposed to be reviewing the film instead of just enjoying it in order to pull myself back from the engaging images and story to take note. The race scenes pull you in with various perspectives, from driver view, to low follow, to over the shoulder, to tight on the drivers. You can feel the tension and stress both the racers and the cars are going through as they click through the eight-and-a-half miles of country roads for 24 hours at Le Mans.
The filmmakers painstakingly recreated the exact twists and turns of the 1960s Le Mans raceway as it existed during this famous race, a course that has been significantly modified over the past 50 years. And the realism of the lengthy race at the film’s climax never loses intensity or becomes monotonous as you watch cars and drivers increasingly wearing down under the stresses.
One scene where Shelby is trying to impress Ford II with the importance of having the right man behind the wheel of the new Ford GT nearly has you experiencing the G forces and stresses on the body as he muscles the car around a tight road
course. It’s possibly the closest you can get to what racing actually feels like without ever actually getting into a car, with the images capturing the intensity, excitement, thrill, and absolute speed of the race. (If you do fancy yourself a racer—and wind up in England—I can’t recommend a day at Palmer Sport enough. I got to drive the Formula 3000 open-wheel racer, and it was absolutely brilliant!)
As good as the images are, race cars are the soul of this movie, and it’s the vehicles’ dialogue through their engine sounds that pull you into the action. From the opening shots—even before the production credits have finished—there is a swirl of cars racing all around you with race announcers in different languages filling the room. The crash and bang as they shift up through gears, the throaty room-filling bass of the naturally aspirated engines revving up to red line, the cars braking late and hard into a corner—the audio puts you right in the car and sounds fantastic.
Frustratingly, 21st Century Fox still refuses to provide Kaleidescape with the Dolby Atmos soundtracks for its releases, so the download was limited to the 5.1-channel DTS-HD, but that still does an admirable job of putting you square in the action, and the Atmos upmixer provides a nice sense of immersion.
Even non-race scenes are filled with ambience, from the sounds of mechanics working, to the echoey expanse of the Ford factory, to the spaciousness of the outside world. My only quibble with the audio is that dialogue—especially Bale’s—was occasionally difficult to understand. I don’t know whether this was due to the noise of the races drowning out the voices, or just the heavy accent Bale used for Miles.
Ford v Ferrari is an entertaining and dynamic film that looks and sounds fantastic in a luxury home cinema, and one that should be on the very shortlist for your next movie night.
Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as Residential Systems and Sound & Vision. Follow him on Twitter at
@SciaccaTweets and at johnsciacca.com.