“Twenty five drivers start every
season in Formula One, and each year two of us die. What kind of
person does a job like this? Not normal men, for sure.”
Niki Lauda
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| Not exactly 'The Tortoise and the Hare'... |
Synopsis:
The “true life” story of one of
Formula One's “greatest rivalries”. James Hunt, a charismatic
English playboy racer who enjoys his hedonistic lifestyle of fast
cars and lose women, finds his spate of easy wins come to a sudden
halt with the arrival of Niki Lauda, a straight-laced and coolly
calculating Austrian. Tempers flair off the track and tragedy looms
on the horizon...
Script: 2/2
Despite the fact that there seems to
have been very little rivalry off the track between Hunt and lauder
in real life (photographs are widely available of the 2 chatting
amicably between races), the story obviously takes a few liberties in
pursuit of drama. That's not necessarily a failing so much as an
observation. Rush instead presents a character study between two men
who, ironically, would only later come to realise they had more in
common than first appears, not least of all a near self-destructive and all-consuming passion to be the best.
Pace: 1/2
While I was aware on odd moments that I was sitting and waiting for the 'next thing' to happen (the first half is especially episodic), it's hardly a dull ride- and the races themselves are suitably covered without ever taking the lion's share of the screen time.
Acting: 2/2
Despite a range of familiar faces, this is really a two-man show. Chris Hemsworth dons his best English-toff impression and, despite a few wobbly accent moments, is suitably chiselled and roguish while never being too self engrossed that we can't find something in the character to warm to. Hemsworth gets by more on charisma than any real acting, but it serves the character just fine and doesn't hamper his performance. Daniel Brühl as Lauda is almost the antithesis of Hemsworth (as Lauda was of Hunt, fittingly); his was a character that would be easy to dislike, a cold-fish seemingly devoid of emotion, but due to the subtlety of Brühl's performance and subtle comic timing he manages to make the audience really route for his character. Their scenes together, though few and far between, really spark.
Despite a range of familiar faces, this is really a two-man show. Chris Hemsworth dons his best English-toff impression and, despite a few wobbly accent moments, is suitably chiselled and roguish while never being too self engrossed that we can't find something in the character to warm to. Hemsworth gets by more on charisma than any real acting, but it serves the character just fine and doesn't hamper his performance. Daniel Brühl as Lauda is almost the antithesis of Hemsworth (as Lauda was of Hunt, fittingly); his was a character that would be easy to dislike, a cold-fish seemingly devoid of emotion, but due to the subtlety of Brühl's performance and subtle comic timing he manages to make the audience really route for his character. Their scenes together, though few and far between, really spark.
Aesthetic: 2/2
The film has a fairly loose grasp on time and place, but intentionally so. The fashions and staples of the mid-70's are present on screen but never in a way which draws attention; the film is at great pains to appear contemporary, most likely so it doesn't isolate or distract it's audience (the 70's is hardly a selling point). The races themselves are filmed in an exciting flourish of quick edits involving screeching tires and heat-hazed tarmac, even people without an interest in F1 will likely find their pulse quickening.
The film has a fairly loose grasp on time and place, but intentionally so. The fashions and staples of the mid-70's are present on screen but never in a way which draws attention; the film is at great pains to appear contemporary, most likely so it doesn't isolate or distract it's audience (the 70's is hardly a selling point). The races themselves are filmed in an exciting flourish of quick edits involving screeching tires and heat-hazed tarmac, even people without an interest in F1 will likely find their pulse quickening.
Intention: 1/2
I'm always dubious of anything “based on true events”, because, by and large, there's very little fact involved. But likewise I'm not a stickler for fact either, I'm aware films have to work to a certain dramatic format. It's easy to see what attracted director Ron Howard to the project; there was plenty enough in the Hunt / Lauda dynamic to make the situation worth mining for inspiration, and Lauda for his part (still alive) approved of the film.
I'm always dubious of anything “based on true events”, because, by and large, there's very little fact involved. But likewise I'm not a stickler for fact either, I'm aware films have to work to a certain dramatic format. It's easy to see what attracted director Ron Howard to the project; there was plenty enough in the Hunt / Lauda dynamic to make the situation worth mining for inspiration, and Lauda for his part (still alive) approved of the film.
Final Word: 8/10
Where the film struggles the most is in
its closing; trying to make something dramatic of a non-event (the
most dramatic moment happens at the close of Act 2), artistic license can only be taken so far. However, this is redeemed
in part by it's melancholy denouement. All in all, Rush is a
commendably character-driver spots movie, and a film which should
hold the attention of anyone regardless of how excited they are about
F1, or for that mater, how much or little they might know about the
Hunt and Lauda rivalry and how it ended.
As a point of interest, the casting of this film was incredibly accurate. I found this online, thought it was worth sharing. Naturally, there's a certain Hollywood glamorizing, but on the whole striking similarities...
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| Biggest change here is poor ol' Lauda. |
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