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Le Mans 66 is a new James Mangold-directed film, bringing to life the true story of the Ford versus Ferrari war, in which American automotive giant Ford attempted to challenge the dominance of the iconic Italian company. The climax comes in the classic 24 Hours of Le Mans race, but despite its appearances as a pure racing film, a large proportion is dedicated to the behind-the-scenes battles between the sleek, suited and sly Ford executives, and the at-times unrefined – but doubtlessly practical and effective – duo of driver Ken Miles (Christian Bale) and famous car designer and tuner Carrol Shelby (Matt Damon).
The film, therefore, is immensely watchable for a wide audience: the beginning is devoted to detailing the events which led to Henry Ford II’s decision to enter European racing – namely, a failed proposed buyout of the financially struggling Ferrari, compounded by some choice words aimed at the cutthroat Ford boss by Enzo Ferrari himself, which need not be repeated here. As the film progresses, we come to know Ken Miles, the charismatic, frank, and extremely quick British racing driver (an excellent Bale), and his family (including his wife, played by Irish actress, Caitriona Balfe). These scenes lend the otherwise quite tense film a cosier, more human feel – although it does also remain quite a masculine-orientated film, drawing also on the father-son bond that racing fosters between Miles and his young son.
Despite the occasional brave foray into familial emotions, however, this film is still very much one concerned primarily with screeching tyres, the flash of race cars roaring by and men in suits glaring at men in oily overalls. It is undoubtedly an entertaining watch – as a genuine racing fan, I would have welcomed more technical detail, but I can see how simplifying things a little might appeal to a broader audience. Spanning several years, the film makes good use of the varying settings, shifting seamlessly between dusty California speedways, Shelby’s vast test centre, the colourful, cheerfully-sixties launch of the iconic Ford Mustang, and the vaguely Godfather-esque Ferrari factory – finally settling around the bustling, dangerous, and thrilling Le Mans circuit.
The film at times feels too ‘dumbed down’ or comic, and it’s painfully clear that it is made primarily for an American audience unfamiliar with European racing, and at times it made the film feel a little contrived. Most definitely more of a drama than a documentary, Le Mans 66 should entertain even those most unfamiliar with motor racing – the extremes of emotion that the sport can bring are made evident in this film. This is an aspect which will hopefully help encourage movie-goers who may be put off by a perceived overbearing masculinity of the film. It is instead a film which combines an enjoyable mix of engrossing human relationships and corporate politics with pure racing excitement.
