Tag Archives: James Mangold

Eavesdropping at the Movies: 195 – Le Mans ’66

Cars, business, and a big chummy Brummie combine in 1960s California as Ford sets itself the mission of beating the all-conquering Ferrari in the 24 Hours of Le Mans endurance race, in a film that has not one but two boring titles: Ford v Ferrari in the USA, and Le Mans ’66 in the UK. Mike had a good enough time to see it twice, even though it’s directed by James Mangold, for whom he has little love; José, incredibly, even welled up at the end.

Although one might expect clashes between the egos of our heroes, the Texan car designer Carroll Shelby (Matt Damon) and Brummie racer Ken Miles (Christian Bale), their relationship is really one of friendship, common goals, and coping with the management at Ford, for whom Le Mans is about business opportunity and making their way into the increasingly deep pockets of the American teenager. José finds Ken’s family life of particular emotional interest, the support he receives from his wife a pleasure and their arguments complex, though Mike isn’t as complimentary, seeing the film as overall too slick for its own good, failing to generate real tension in the problems it depicts. This goes for the racing, too, for which he reserves some criticism, opining that while the races are good fun and entertaining larks, they don’t convey the stresses or feeling of endurance as they should. But José, a man who cares not a jot for cars or racing, enjoyed the heck out of them, and perhaps that is an achievement all of its own.

The film offers some rather crude comic representations of Italians, the Ferrari pit crew running around like cartoons, which despite only really showing up twice do stick in the mind; and lightly poses the competition as a continuation of the Second World War, the Allies at Ford battling the Axis Power of Italy (at one point, Henry Ford II, played to a T by the great Tracy Letts, brags to Shelby about the role his factory played in building planes for the American war effort, telling him, “Go to war”). It’s an American film about the greatness of America at the height of America’s cultural standing in the world; as José describes it, their empire.

And plonked in the middle of this American myth-making is a sarcastic showoff from Sutton Coldfield, unable to keep his mouth shut except when he’s got some tea in there. Mike responded with unbridled joy to the attention to detail shown to Ken’s origins, not only in the broad, charming accent Bale employs, but also in the dialect he brings with him, talking of cheese cobs and using the phrase “round the Wrekin”, something most of Britain probably has no clue about, let alone America. Peaky Blinders may have given Birmingham a platform in modern pop culture, particularly amongst Americans, but Mike enjoys Ken here much more, ecstatic that a $100m movie that’s going down well with audiences features a Brummie as one of its heroes.

Le Mans ’66 is an honest to god charm offensive of a film, with entertaining action, performances that do the well-written screenplay justice, and even an emotional sting in the tail. Get yourself to the cinema for it. It’s bosting.

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With José Arroyo of First Impressions and Michael Glass of Writing About Film.

The Wolverine (James Mangold, USA, 2013)

the-wolverine-cover-creator

You gift filmmakers a fantastic imaginary world, characters that are mythic yet three-dimensional, wonderful actors who can play them; and you get…. The Wolverine? It doesn’t seem a fair exchange. The story is good if predictable but structured around dream sequences with Jean Grey (Famke Janssen) that don’t quite work; the set-pieces are sometimes very imaginative (I love the tactile bed we see in the trailer) and there is a truly superb villain in The Viper (a magnificent Svetlana Khodchenkova). For fans of the comic book, the fact that the story is set in Japan, will also have special resonance (and the way Japan is designed for this film makes for a joyous setting). The film seems to have all the ingredients for a great film but everything seems slack, even the humour seems off-rhythm and badly timed, the punch-line arriving after the audience’s already got the joke.

It’s a proficient movie but I didn’t feel moved or thrilled; and the film never once made me feel part of a somewhat embittered community of the alienated and disaffected who shared higher morals and ideals than the world depicted, the way the various x-men comic books at their best did. There’s a lot of talk at the moment about declining audiences and the industry trying to figure out whether it’s changing ways of viewing, or marketing, or delivery platforms. But really they should look at the films; all the big-budget ones seem to be made by a transnational committee and by-the-book but also by-passing feeling altogether; and if films don’t engage with dreams, hopes, aspiration, conditions of existence or the way people think and feel, see and/or experience, what’s the point of them (other than to make one feel a feeder for some corporation’s bank-balance)? And I suppose that’s the problem with this film; it’s ok but so what? And that in itself is a condemnation of the present industry because these are great characters in a superb imaginary world that audiences have loved and identified with for decades and the filmmakers have been given a lot of money to turn it all into a movie. If ok but so what is the response you get, you didn’t deserve to get to make the movie.

José Arroyo