Stockwell review: Stellar racing films set stage for Indy 500

The end of May means the beginning of our summer season. School is getting out, weather is warming up, and the social calendar begins to fill faster than a swimming pool on a hot day.

We also celebrate the national holiday of Memorial Day with parades in normal years, as we reflect upon the great sacrifices that many made in defense of our wonderful country. Thank you to all who have served, and those we have lost. We are grateful for all you have done.

In regard to films, this weekend is a coveted spot for release dates, for it usually means a big box office draw. While we are able to do a lot more than a year ago, some places still are restricted by mask wearing and social distancing. Please respect all businesses that require precautions. We have come this far, let’s not trip at the finish line.

Speaking of the finish line, one of the rich traditions of this coming weekend is the running of the Indianapolis 500. It will take place this year on Sunday, May 30, with limited spectators and necessary precautions. There is nothing like the roar of the engines to signal the start of the race and the start of summer.

With that, here is a look at two films that highlight auto racing. By the way, I just purchased a DeLorean. I plan to drive it from time to time.

“Rush” (2013)

The year is 1970, and the racing circuit in London is fierce and competitive. Two drivers, James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl), find themselves in what will become a heated and challenging rivalry. They are as opposite as can be; Hunt is a free-styling playboy, races on the edge, and beds whatever women catch his eye. Lauda is cold, calculated, and nothing short of brilliant when it comes to cars and how they operate.

The story moves into the mid 1970s, as the two rivals get sponsors and move to Formula One racing, and the focus of the 1976 season. As the two men balance their conflicting styles and off-the-track relationships, each looks to capture the championship. After setbacks for both, including a disqualification and a nasty crash with burns and scarring, they come to the final race – the Japanese Grand Prix on a rainy day. Decisions are made that affect both drivers, as the championship will be decided by 1 point.

Directed by Ron Howard and based on the true events surrounding the two racers, the film is dazzling and exciting. The editing is pulse-pounding, and the racing scenes are shot with a flair for the real thing. Even people not interested in auto racing will enjoy the well-told story. The characters arc very well for a two-hour film, with the sets and set design transporting us back to the height of Formula One and the ’70s.

The acting is very good. Hemsworth plays Hunt wonderfully, his pretty face and charisma transferring well to the driver. He will charm you (like the real Hunt did), and you will be drawn into his lifestyle. Brühl is equally excellent, even spending time with the real Lauda to correctly capture his demeanor. He handles situations with a matter-of-fact approach, sometimes off-putting, but engaging as well.

Alexandra Maria Lara is Marlene Lauda, Niki’s wife, and she controls her scenes with the grace and elegance of the German socialite she plays. Olivia Wide is Suzy Miller, who marries Hunt but leaves him because of an affair with Richard Burton (who left Elizabeth Taylor to be with her). She has limited screen time, but is fantastic in her performance, not to mention very easy on the eyes.

The film is rated R for some nudity and a couple violent scenes during races, so that is accurate. Prime has it for the standard $3.99, but you can enjoy it free with a Netflix subscription.

“Ford v Ferrari” (2019)

Moving forward in time to a movie set older than “Rush” (see how I did that?), director James Mangold gives us the story of the 24 hours of Le Mans in France from 1966. The Ford Motor Company looks to increase auto sales by winning the endurance race. They attempt to purchase the Italian car company, Ferrari, but when Enzo Ferrari parlays Ford’s offer to a different deal with Fiat, the Deuce (Henry Ford II) orders vice president Lee Iacocca to build a car to win the race and embarrass the Italian.

Enter racing legend Carroll Shelby (Matt Damon), whom Iacocca hires to build the vehicle. He takes the job in the belief he has complete control over the project. Shelby, in turn, gets friend and driver Ken Miles (Christian Bale) involved as they create the potential top dog of the racing world. The film culminates in the race, where Miles and Shelby must overcome constant tinkering from executives and meddling with their plans to pull it off.

Again, this film follows a true story, and Mangold balances emotions wonderfully. The racing sequences are thrilling, with a beautiful combination of shots in and out of the vehicles. There is some very subtle humor (the fistfight on the lawn is a work of art), and the climax of the film will give the viewer chills, anger and a shock all within minutes of each other.

As expected, the acting is nothing short of incredible, as both Damon and Bale shine like the stars they are. Damon becomes Shelby, his mannerisms and accent are like watching the icon himself. Bale, though, is even better. He is crude, rude, unrefined, but, boy, is he magnetic. You like him, love him, hate him, and feel for him – not to criticize the Academy, but they missed on this one for the Oscars. To top that, Caitriona Balfe is Mollie (Miles’ wife), and she graces the screen even more than her two leading men. The Sunday drive scene is worth every second, too.

The film is rated PG -13, and is not nearly as violent as “Rush.” The language (at times funny, due to Miles’ British slang) is nothing more than would be used when driving during rush hour anyway. It can be found on Prime for $3.99, but if you subscribe to HBO Max, it is ready for viewing without additional charge.

There you go – two racing films that would be good to watch, time and time again.

Until next week, happy viewing!

• Jim Stockwell is a tenured instructor of film and broadcast journalism at McHenry County College, teaching Introduction to Film, Advanced Film and Introduction to Public Speaking.