Ferrari, The End We Start From and The Holdovers

 

Ferrari is an interesting story spoilt by a number of faults. For a start the cuts between the family drama and the cars racing makes it feel all over the place. Everyone is so unhappy, Adam Driver as Enzo seems permanently cross about something, his wife Penelope Cruz even more angry. Only Shailene Woodley as Enzo's mistress seems content. So almost zero humour. The racing scenes are well filmed as would be expected from director Michael Mann, but are all too repetitive. But the victory for Ferrari in 1957's Mille Miglia is overshadowed by a tragedy that leaves you horrified at the end. Was this how Ferrari wanted to be remembered? But the Italian landscape did look good.

Jodie Comer shines in this all too worrying climate disaster. The End we Start From is brilliantly adapted by Alice Birch (Lady Macbeth and Mothering Sunday)from the book by Meagan Hunter, director Mahalia Belo is lucky to have such wonderful support from some class actors, including Joel Fry as the husband, who revel in a chance to shine in an all too rare human drama. Cameos from Mark Strong, Nina Sosanya, Benedict Cumberbatch and Gina McKee are supplemented by a superb supporting role from Katherine Waterstone.  As in most of these type of stories there are the odd questions about the detail, but these British films are all too rare. This one has emotion to spare.

But even better is The Holdovers. The awards and nominations say it all. A best actor winner at The Golden Globes for Paul Giamatti is the least he deserves. He plays teacher Paul Hunham who is almost glad that, although it was not his turn to be the only resident teacher over the Christmas holidays, he replaces the one who escapes. Of the half dozen pupils at this high class boarding school in 1970 snowy Massachusetts who remain, only Angus Tully (an amazing first time professional role for Dominic Sessa) fails to reach his mother when there is an opportunity to leave. So here they are, these two, with housekeeper Mary Lamb (another Golden Globe winner in Da'Vine Joy Randolph). These three do not have the most harmonious relationship to say the least. But there is humour as well as sadness. All three are, in a way, broken but find something in their in each other to survive their time together. 

The story takes an unexpected turn for the three in the second half. But the story is always interesting and David Hemingson also deserves winning his Golden Globe for best original screenplay. The nominations for an Oscar also include those for best picture, best actor, best supporting actress . But where is anything for the director? Has Alexander Payne upset someone? Or is it because he has already won two Oscars for the screenplays of Sideways and The Descendants (both of which he also directed) and that he should stick to writing and not directing.  Fortunately, as is often the case, the BAFTAS get it right with their nomination for best director. Sight and Sound magazine tells us "it's the director's finest and most immersive film yet". He "creates a simulated 35mm feel .... shooting on digital but adding in the wear and tear of film print". I was just too busy revelling in an intelligent and emotional movie.

Alexander Payne was the last in the list of The Directors - Series 7 that I included in my post of 16th August 2022. His The Descendants was reviewed on 9th February 2012.