OPPENHEIMER : Tuesday 25th July 2023.

'OPPENHEIMER' which I saw at my local independent movie theatre this week is an MA15+ Rated American biographical war drama film Written, Co-Produced and Directed by Christopher Nolan, and is based on the 2005 biography 'American Prometheus' by Kai Bird and Martin J. Sherwin. Christopher Nolan's prior film making credits take in his debut with 'Following' in 1998 then 'Momento' in 2000, 'Insomnia' in 2002, 'Inception' in 2010, 'Interstellar' in 2014, 'Dunkirk' in 2017, 'Tenet' in 2020 with the 'Batman' trilogy in between time in 2005, 2008 and 2012. The film cost US$100M to produce, saw its World Premiere showcasing in Paris on 11th July, was released in the UK, the USA and here in Australia last week, has so far grossed US$242M and has garnered universal critical acclaim.

The film opens in 1926 with a dishevelled looking 22-year-old J. Robert Oppenheimer (Cillian Murphy) who has trouble sleeping at night and grapples with homesickness and anxiety while studying under the British experimental physicist Patrick Blackett (James D'Arcy) at the Cavendish Laboratory in the University of Cambridge, England. Oppenheimer finds Blackett demanding and injects an apple he leaves on his desk with cyanide which visiting scientist Niels Bohr (Kenneth Branagh) almost bites into but not before Oppenheimer thrusts it out of his hand and into a waste bin. Oppenheimer completes his PhD in physics at the University of Gottingen in Germany, where he is introduced to Werner Heisenberg (Matthias Schweighofer). He returns to the US, in the hope of expanding quantum physics research, and starts teaching at the University of California, Berkeley and the California Institute of Technology. During this period, he meets Jean Tatlock (Florence Pugh), a member of the US Communist Party with whom he has an on-again off-again affair until her eventual suicide in 1944, and later his future wife Katherine 'Kitty' Puening (Emily Blunt), a biologist and ex-Communist whom Oppenheimer married in 1940 and with whom he has two children.

US Army General Leslie Groves (Matt Damon) enlists Oppenheimer to spearhead the Manhattan Project in order to develop an atomic bomb after Oppenheimer assures Groves that he has no communist sympathies. Oppenheimer, a Jew, is particularly focused on the Nazis and the very likely possibility that they have their own nuclear weapons programme underway, headed up by Werner Heisenberg. 

Oppenheimer recruits a scientific team that includes Edward Teller (Benny Safdie), Isidor Isaac Rabi (David Krumholtz) and David L. Hill (Rami Malek), to a purpose built town in the middle of nowhere at Los Alamos, New Mexico, to begin work on secretly creating the atomic bomb. During the development, Oppenheimer and Albert Einstein (Tom Conti) discuss how such a bomb could possibly trigger a chain reaction that has the potential to destroy the world. Oppenheimer also learns of a possible Soviet spy within his ranks who has potentially leaked the Manhattan Project's secretive intelligence data to the Russians.

When Germany surrenders in May 1945 some project scientists cast doubt over the bomb's continued importance. The bomb is completed and the initial 'Trinity' test is successfully conducted on 16th July 1945 just before the Potsdam Conference involving Winston Churchill, Harry S. Truman and Joseph Stalin which began on 17th July in Potsdam, Germany. US President Harry S. Truman (Gary Oldman) decides to drop atomic bombs on the Japanese cities of Hiroshima and Nagasaki on 6th and 9th August 1945 respectively forcing Japan's surrender and thrusting Oppenheimer into the public eye as the 'father of the atomic bomb'. Haunted by the immense destruction and suffering the bombs caused, Oppenheimer personally urges Truman to use restraint in developing even more powerful weapons, saying that he has 'blood on his hands'. Truman perceives Oppenheimer's anxiety as a weakness, and states that, as President, he alone bears responsibility for the bomb's use. Upon leaving the Oval Office feeling very dejected Truman says to his aide that he doesn't ever want to see that 'scientist crybaby again'. Oppenheimer continues feeling intense remorse.

Oppenheimer is outspoken, in government circles, about any further nuclear development, especially of the hydrogen bomb, positioning him against Teller. His steadfast opinions become a point of contention amid the escalating Cold War with the Soviet Union. Lewis Strauss (Robert Downey Jnr.), chairman of the US Atomic Energy Commission, has a personal beef against Oppenheimer for publicly dismissing his concerns over the export of radioisotopes and, as per Strauss' belief, badmouthing him to Einstein. 

At a four week kangaroo court hearing in 1954 intended to remove Oppenheimer from any and all political influence, and as largely cross examined by Roger Robb (Jason Clarke), Oppenheimer is betrayed by Teller's and other associates' testimony, including the final nail in the coffin delivered by William L. Borden (David Dastmalchian),stating that he firmly believed that J. Robert Oppenheimer was an agent of the Soviet Union. Meanwhile Strauss exploits Oppenheimer's associations with current and former communists such as Tatlock and Oppenheimer's brother Frank (Dylan Arnold).

Despite Rabi and several other allies testifying in Oppenheimer's defence, Oppenheimer's security clearance is revoked by a vote of 2 -1 although his loyalty to the United States was not brought into question. However, this did damage his public image and reduced to zero his policy influence. Later, at Strauss' Senate confirmation hearing as Secretary of Commerce, Hill exposes Strauss' personal motives in engineering Oppenheimer's downfall, which results in Strauss' confirmation being denied.

In 1963, President Lyndon B. Johnson presents Oppenheimer the Enrico Fermi Award (awarded to honour scientists of international stature for their lifetime achievement in the development, use, or production of energy) as a gesture of political rehabilitation. It is revealed that Oppenheimer and Einstein's earlier conversation was not about Strauss but rather nuclear weapons and their far-reaching impacts ultimately. Oppenheimer muses whether the Trinity test, to a large extent, his creation, could launch a chain reaction of events that could lead to a nuclear holocaust. 

'Oppenheimer' is possibly Christopher Nolan's best film offering yet, and that's saying something given the quality of his varied back catalogue over the past twenty or so years. Here he has crafted a film that is well scripted, stunningly photographed, and packed with emotion, intrigue, a stellar ensemble cast and an underlying message that is just as important today as it was almost eighty years ago. Cillian Murphy gives a tour-de-force performance as the torn and troubled Oppenheimer wrestling with his own inner demons over the magnitude of his creation and the implications for all of humankind, and is more than ably supported by Emily Blunt, Matt Damon and Robert Downey Jnr. This is a compelling film that tells the story of war, the people wielding the power and who you can ultimately trust that needs to be viewed on the biggest screen you can get to. It deserves all the accolades bestowed upon it come awards season, and despite it being largely a dialogue driven drama grips the attention from the get go, until the final half hour where the story drags just a little - but don't let that put you off. One of the must see films of the year for sure. Also starring Josh Hartnett, Casey Affleck, Dane DeHaan, Matthew Modine, Scott Grimes, Alden Ehrenreich, James Remar and Olivia Thirlby.

'Oppenheimer' merits four claps of the Odeon Online clapperboard from a potential five claps.

-Steve, at Odeon Online-

AIR : Tuesday 11th April 2023.

I saw the M Rated 'AIR' earlier this week, and this American biographical sports drama film is Co-Produced, Directed and stars Ben Affleck whose previous film making credits take in 'Gone Baby Gone' in 2007, 'The Town' in 2010, 'Argo' in 2012 and 'Live by Night' in 2016. This film saw its World Premier screening as the Closing Night film of SXSW in mid-March recently, has so far garnered generally positive reviews, was released Stateside last week too and has grossed to date US$35M off the back of a circa US$80M production budget. It was originally slated for release on Amazon Prime Video before Amazon Studios decided to release the film theatrically following strong results from test screenings.

Here then, it is 1984 and the Nike, Inc. business sits looking down the barrel of bankruptcy due to is declining footwear sales, with the company capturing just 17% of the American sports footwear sales market, compared to Converse and the dominant player in the market Adidas. Recognising the financial strife they are in, Marketing VP Rob Strasser (Jason Bateman), together with co-founder and CEO Phil Knight (Ben Affleck), task Nike's basketball talent scout Sonny Vaccaro (Matt Damon, who also Co-Produces here) to come up with a new pitch for a shoeline based on current American sports, believing that basketball's days are numbered. While considering other basketball players chosen in the 1984 NBA draft, Nike's executives think third pick Michael Jordan is off limits, being both a fan of Adidas and too expensive for the basketball division's meagre budget of US$250K, which it aims to spread amongst three or four players, whereas Jordan is rumoured to have been offered US$250K plus a brand new red Mercedes 380 SL by Adidas, with Converse being his second pick. 

One evening while feeling down but not defeated, Vaccaro is sat at home with his TV dinner watching highlights of a Jordan game together with a TV commercial by Arthur Ashe for his Head tennis rackets. Seeing the eighteen year old Michael Jordan from a different perspective he is convinced that Nike should pursue the player that he now considers to be a once in a generation talent with both Jordan and Nike building off one another. With his new found enthusiasm he first pitches the idea to Strasser and then Knight who dismiss the notion as wildly too expensive to blow their entire budget on just one player, and besides the Board would never agree to it. 

Vaccaro heads to LA to meet his friend George Raveling (Marlon Wayans), who coached Jordan in the 1984 Summer Olympic tournament in Los Angeles and asks for his support in courting the star. Vaccaro then drives to the Jordan household in Wilmington, North Carolina, where he turns up unannounced. He tells Michael's mother Deloris (Viola Davis) that Nike would give Jordan all the attention that he would not get from his preferred brands Adidas and Converse and begins to recite the opening lines that each of those companies would greet them with. He also asks Deloris to ask a pointed question to the Board members when she meets with those two companies, and to carefully and cautiously gauge their responses and reactions.

After receiving a very angry call from Jordan's agent David Falk (Chris Messina) about visiting his client's family, Vaccaro learns that the Jordans have still scheduled a meeting at Nike's Beaverton, Oregon HQ the following Monday. Vaccaro and Strasser start preparing their pitch while tasking shoe designer Peter Moore (Matthew Maher) to work through the remaining week and weekend to prepare a single prototype, which Moore names 'Air Jordan' after Nike's Air Sole was deemed inappropriate. In the meantime, Knight reluctantly accepts to assign the basketball division's entire US$250K budget to hire Jordan. 

Monday arrives and the Jordan's pull up at Nike's HQ to be met by Vaccaro. He ushers them up to the Boardroom where they are warmly welcomed by Strasser, Moore, and Howard White (Chris Tucker) with Knight deliberately arriving seven minutes late. Vaccaro can sense that Deloris and Michael are non-plussed by the meeting, so he breaks off a video presentation and makes an off-the-cuff impassioned speech on how he sees Michael's future unfolding with Nike, the good times and the bad, and how long after the Nike executives in the room with him that day are gone and forgotten, his legacy will live on. Vaccaro's speech turns the meeting around but he subsequently learns that Adidas matched the US$250K offer while adding a red Mercedes 380SL into the mix, and he believes the deal is done and dusted with Adidas. 

However, he later receives a call from Deloris, who states that Michael will sign with Nike for US$250K, plus that he earns a percentage of every Air Jordan sold anywhere in the world. Vaccaro believes the company's CEO and Board would not accept such a bonus proposal, which sets a precedent. Once Knight is told he calmly shrugs and says that if it is necessary to ensure the endorsement, then accept the terms, saying to himself how much can it be worth, they sold US$3M in shoes last year! Vaccaro calls back Deloris to tell her that Nike will accept her terms and then speaks with Michael welcoming him to Nike. He then goes out into the open plan office and loudly announces 'we signed Jordan'. 

The closing credits reveal various milestones in Michael Jordan's stellar basketball career, how Phil Knight has so far given away US$2B of his personal fortune to philanthropic causes, how David Falk sold his agency for US$100M, how Peter Moore designed the Jumpman logo for the Air Jordan shoe, and how the Air Jordan shoe sold US$162M in the year following its launch and how today sales are upwards of US$4B and Jordan has earned US$400M from residuals. 

'Air' is a notable return to form for Director Ben Affleck since his last misstep with 'Live By Night', for which he can be forgiven on the strength of this gem of a film about a struggling underdog company whose courage of its convictions ultimately wins the day, and well and truly turns the fortunes of Nike around turning it into the one of the most recognised brands and successful companies in the world. The script moves the film along at a steady pace, the ensemble cast are spot-on with their performances, the recreation of the mid-1980's is a slam-dunk and the music score took me right back there to my early twenties. My only criticism is that Michael Jordan as a character in this film is only ever seen from the back of his head, or his hands caressing the prototype Air Jordan shoe, or as the real life Michael Jordan in archival footage as the end credits roll. This film is less about the sport and more about the marketing guys working tirelessly to sign MJ and the advertising strength that his name will bring to brand Nike - and on that level 'Air' delivers, and the rest, as they say, is history!

'Air' merits four claps of the Odeon Online clapperboard from a potential five claps.

-Steve, at Odeon Online-

THE LAST DUEL : Tuesday 26th October 2021.

I saw 'THE LAST DUEL' at my local independent movie theatre earlier this week, and this MA15+ Rated historical drama film is Directed by Ridley Scott; written for the screen by Nicole Holofcener, Ben Affleck, and Matt Damon, Co-Produced by Scott, Holofcener, Affleck and Damon and based on the 2004 book 'The Last Duel : A True Story of Trial by Combat in Medieval France' by Eric Jager. Of course Ridley Scott is no stranger to historical dramas having helmed 'The Duellists' his 1977 debut feature film, '1492 : Conquest of Paradise' in 1992, 'Gladiator' in 2000, 'Kingdom of Heaven' in 2005, 'Robin Hood' in 2010 and 'Exodus : Gods and Kings' in 2014. This film was originally scheduled to begin a limited theatrical release at Christmas 2020, before going wide in early January this year, but as a result of the COVID-19 pandemic, the release date was delayed to mid-October 2021. It had its World Premiere screening at the Venice Film Festival in early September, before being released in the US and UK mid this month and here in Australia last week. It has garnered generally favourable Reviews, and has so far recouped US$19M off the back of a US$100M production budget. 

The film opens up with two heavily armoured knights on horseback racing towards each other with lances raised and shields poised to take the first blow, in an arena watched on by many of Paris' nobility, and the King of France, Charles VI. It is the 28th December 1386 and there is a thin blanket of snow covering the ground. The camera then cuts away, taking us back to 1370. The events leading up to the duel are divided into three chapters, reflecting the perspectives of Jean de Carrouges, Jacques Le Gris, and Marguerite de Carrouges, respectively.

Chapter One : The truth according to Jean de Carrouges

Jean de Carrouges (Matt Damon) is a soldier known to be fierce and unyielding in battle, is serving at Limoges in 1370 alongside the squire Jacques Le Gris (Adam Driver) - his long term friend. After seeing combat in Limoges against the wishes of the King, Le Gris thanks de Carrouges for saving his life. When Count Pierre d'Alencon (Ben Affleck) is named de Carrouges' overlord by his cousin, King Charles VI (Alex Lawther) both de Carrouges and Le Gris swear their fealty to him. Later Le Gris visits de Carrouges and informs him that d'Alencon has ordered all of his new vassals to pay their taxes to fund the war effort. de Carrouges explains he doesn't have the funds to pay and that he is broke. Le Gris agrees to ask d'Alencon, who has come to trust him as a confidant and advisor, for leniency in his case.

To restore his financial standing, de Carrouges marries Marguerite de Thibouville (Jodie Comer) and in the process receives a substantial dowry from her father Sir Robert de Thibouville (Nathaniel Parker) that includes valuable estates. He soon learns however, that one especially desirable parcel of land has already been seized by d'Alencon and given to Le Gris as a reward for Le Gris getting his finances in order. de Carrouges subsequently sues d'Alencon for the land to be given to him as it was promised to him in the dowry, but the King dismisses the lawsuit. The Count responds by appointing Le Gris to the captaincy of a fort that the de Carrouges' family had held for generations. Needless to say de Carrouges is mightily pissed off at this news and suspects Le Gris has turned d'Alencon against him.

Marguerite raises her concerns that they have no children, even after five years of marriage, but de Carrouges reassures her that whether they have children is in God's hands. While on a six month campaign in Scotland, he is knighted for bravery but returns home to be told by his wife that Le Gris raped her while she was alone in their home. Knowing that d'Alencon protects Le Gris, de Carrouges is adamant to challenge him to a duel to the death.

Chapter Two : The truth according to Jacque Le Gris

We go back to that battle at Limoges in 1370 and this time it is Le Gris who saves the life of de Carrouges in battle. In an early morning conversation with d'Alencon standing high up on his fort overlooking the French countryside, Le Gris recounts his humble early life and how he very briefly joined the church with designs on becoming a monk, but after a while decided it wasn't for him. Now however, he has earned the trust and respect of d'Alencon through his knowledge of Latin, reading and mathematics especially which has helped Le Gris to get the Counts finances in order and collecting, on his behalf, the debts owed to him by his vassels. Le Gris attempts to use his new position to help de Carrouges, but when d'Alencon showers him with gifts, as a show of gratitude, including the parcel of land promised to him as part of his wife's dowry, de Carrouges becomes envious and publicly mocks Le Gris.

When Le Gris sees Marguerite for the first time, he is instantly attracted to her and believes that she does not truly love her husband, who is illiterate and sees her only as a means for him to acquire a son and heir. Marguerite admits to her friends that Le Gris is indeed handsome but states that her husband does not trust him. While de Carrouges is away, his mother takes all the servants to help her with errands that day, leaving Marguerite alone, despite her husband advising that his wife is not be left home alone under any circumstances. Knowing this Le Gris gains entry to the household and declares his undying love for Marguerite. She insists that she is married and orders him to leave. Instead, Le Gris chases Marguerite up to her bedchamber. Le Gris then rapes her. In his mind, despite her protests and seemingly only mild objections he believes that Marguerite must love him. Before leaving, he advises her not to tell her husband, for upon hearing this news he would surely kill her, and he too will remain silent. 

Later d'Alencon tells Le Gris that de Carrouges is spreading news that he raped his wife. Le Gris, apparently shocked Marguerite perceived the incident as a rape, is advised by d'Alencon to deny, deny, deny the event. d'Alencon attempts to exert his authority to rule in favour of Le Gris, but de Carrouges has already appealed his case directly to the King and requested a duel to the death against Le Gris, who, determined to defend his honour, his name and his reputation, accepts de Carrouges' challenge.

Chapter Three : The truth according to Marguerite de Carrouges

Marguerite de Thibouville has entered into marriage with Jean de Carrouges and sets about helping him to restore his neglected estate to its former glory. Their marriage is soon strained by her failure to become pregnant, even after five years, and as de Carrouges leaves for Scotland, he reassures her that whether they have children is in God's hands. He also orders her not to leave their castle home and to not let anyone inside while he is away. 

de Carrouges' mother, Nicole de Buchard (Harriet Walter), takes all the servants with her on an errand for the day despite de Carrouges' order that Marguerite is not be left alone. Le Gris arrives with a servant who tricks Marguerite into letting them enter. Le Gris chases her up to her bedchamber and rapes her, with Marguerite screaming and crying for him to stop. When de Carrouges returns, Marguerite tells him what happened. He is enraged, and grabbing Marguerite by the neck demands to know if she provoked him. He then forces her to have sex with him immediately so that her last partner was not Le Gris. 

Marguerite, after praying in the chapel, is confronted by Nicole, who warns her against bringing Le Gris to trial, saying that she too was raped when she was younger and had to accept it as the way of the world so she could move on with her life, further stating that what Le Gris did to Marguerite is no different than French soldiers raping peasant women during wartime campaigns.

At Le Gris' trial in Paris, the judges interrogate Marguerite, who is now six months pregnant, six months after the rape. Is this coincidence given that she failed to conceive after more than five years of marriage they ask? She remains resolute in speaking the truth, even after being advised by the judges that should de Carrouges lose the duel she will be flayed and burned alive for bearing false witness against Le Gris, and that such a painful death can take between twenty to thirty minutes for the victim to die. The King in attendance, agrees to de Carrouges' request for a duel to the death. After the hearing Marguerite confronts de Carrouges for not informing her she would be killed if he fails, stating that their child could now grow up an orphan. When he defends himself by saying he is risking his life for her honour, she accuses him of prioritising his pride and his vanity over everything and eveyone else, including her life and that of their child's. Marguerite gives birth to their son, within just a few weeks of the duel. 

The 28th December comes around and the duel starts with de Carrouges and Le Gris jousting until both men lose their mounts and then fight hand-to-hand. de Carrouges is stabbed in the thigh but eventually manages to pin down Le Gris after he slashes him in the back of the leg with his sword. He demands that Le Gris confess or face ever lasting damnation, but Le Gris refuses and once again claims his innocence. de Carrouges stabs him through the mouth, killing him. No longer a prisoner, Marguerite is unchained and permitted to join her husband. As Le Gris' body is stripped naked and dragged away along the frozen ground by horses to be strung upside down for public display, de Carrouges and his wife depart the scene on horseback with de Carrouges soaking up the glory of his victory before the cheering crowds of Paris, while Marguerite follows quietly behind.

The final scene shows Marguerite and her no more than two year old son playing in the grounds of the family estate on a sun drenched day. An epilogue tells us that de Carrouges died fighting in the Crusades two or so years later while Marguerite continued managing the estate, living in peace for the remaining thirty years of her life and never marrying again.

This is a film that needs to be seen on the big screen and whilst the Reviews have generally been favourable, it would be disappointing for Scott and the studio that at the Box Office this historical drama has underperformed. Perhaps the reason for this, is that a story of this nature doesn't grab the hearts and minds of the younger cinema going demographic, but is instead aimed more squarely at an older 40+ demographic who are still a little ill at ease with venturing back into a movie theatre post-pandemic. Once again, here Scott has not neglected the production values which are top notch, the cinematography is first rate, the performances from the four seasoned leading players is credible, the action scenes expertly staged, and a clever script all help propel this medieval story along at a good pace. It could be seen as a forerunner to the 'Me Too' movement with themes of misogyny, patriarchy, rape and the issues faced by women in the 14th Century being not so far removed from the issues faced by women six hundred years later. My only gripe is that at a two-and-a-half-hour run time, Scott could easily have cut fifteen to twenty minutes out of this without too much detriment to the story, but nonetheless 'The Last Duel' is a well crafted historical film with a message grounded in todays world that will keep you invested right up until the brutal, bloody and bitter end. 

'The Last Duel' merits four claps of the Odeon Online clapperboard from a possible five claps. 

-Steve, at Odeon Online-

FORD V. FERRARI : Tuesday 19th November 2019.

'FORD v FERRARI' is an M-Rated American biographical drama film which I saw earlier this week, and is Directed and Co-Produced by James Mangold, whose previous film making credits include 'Cop Land', 'Girl, Interrupted', 'Walk the Line', '3:10 to Yuma', 'Knight and Day', 'The Wolverine' and 'Logan'. In early stages of development, Tom Cruise and Brad Pitt were cast in the starring roles, but those plans fell through, paving the way for Matt Damon and Christian Bale to take on the two leads. The film cost US$98M to make, was released in the US last week too having seen its World Premier showing at Telluride in late August, then at TIFF in September, has garnered widespread Critical acclaim, and has so far recouped US$63M of its initial budget outlay.

The film opens up with Carroll Shelby (Matt Damon) competing in, and ultimately winning the 1959 24 Hours of Le Mans endurance race when he co-drove the Aston Martin DBR1 beating out fierce rivals Ferrari. Due to an emerging heart condition that made it riskier for him to race, Shelby retires from racing following his Le Mans victory but kept his motivation very much alive to beat the Ferrari's, who had previously turned him down for a driving position. We then fast forward four years to 1963, and  the Ford Motor Company Vice President Lee Iacocca (Jon Bernthal) proposes to Henry Ford II (Tracy Letts) to purchase the cash-strapped Ferrari as a means to boost their flagging car sales by participating in the 24 Hours of Le Mans race in order to attract the emerging younger more affluent customer demographic. On a trip to Maranello in Italy - the Ferrari HQ, Enzo Ferrari (Remo Girone), turns his back on the deal, as Fiat counter offers him a much more attractive deal that allows him to retain his ownership of his racing team and pride and joy, Scuderia Ferrari.

Enzo Ferrari insults Henry Ford II and puts a slur on him personally and his company, which Iacocca takes back to Detroit and recounts to Fords face. As a result of this, a furious Ford II orders his racing division to build a car to defeat Ferrari at Le Mans. For this project, Iacocca hires Shelby American owner Carroll Shelby, who at first is very reluctant and sceptical, but when told by Iacocca that money is no object, he relents. In turn, Shelby enlists the help of Ken Miles (Christian Bale), a hot-tempered and highly opinionated British racing car driver and cash strapped motor mechanic relocated to southern California from his native Birmingham in England, with his wife Mollie (Catriona Balfe) and young son Peter (Noah Jupe).

Miles is also very sceptical of Ford's intentions at first and takes some convincing by Shelby to come on board, but eventually does so, with the promise of US$200 a day plus expenses as an inducement - much needed under his dire financial circumstances at the time, with the IRS having recently repossessed his mechanical workshop.

Shelby and Miles test drive the Ford GT40 Mk I prototype at Los Angeles International Airport, putting the new vehicle through its paces and one by one ironing out all of its design flaws until it is race ready. Deeming that Miles is not their ideal driver on the grounds of his outspokenness and unpredictability to mouth off, Ford opts to send Phil Hill and Bruce McLaren to the 1964 Le Mans race instead, who are much better versed in the marketing and PR protocols likened by Ford. As predicted by Miles, none of the Fords finish the race. Shelby is summonsed by Henry II who sees this result as a humiliating defeat. However, Shelby explains to him that the GT40 instilled fear in Ferrari, as it reached a record breaking 218 mph on the Mulsanne straight before it broke down.

Shelby and Miles continue working on the development of the GT40 Mk II, but Miles is nearly killed when the car's brakes fail during testing. In 1966, Ford Senior Vice President Leo Beebe (Josh Lucas) takes over the racing division, with the intent to continue the program without Miles.

On a trip out to Shelby's HQ to see for himself where his US$9M race car investment is being spent, Shelby gives Henry II a ride in the car around the test track at top speed. Henry II has never experienced anything like this before, and is an emotional wreck when Shelby brings the car to an abrupt halt. To make Henry II see sense, he bets his own company, Shelby American, on the line to convince him that if Miles wins the 24 Hours of Daytona race, then he will be granted to race at Le Mans later in the year.

Shelby American enters Daytona with Miles behind the wheel. Beebe puts a second Ford team in the race with a proven NASCAR crew supporting them in the pits. While the second team has quicker pit stops, Shelby has Miles push his car's limit to 7,000 RPM, which sees him winning the race, much to the chagrin of Beebe, and the tongue in cheek disappointment of Henry II for not winning Shelby American.

And so the 1966 Le Mans race day arrives. During the opening lap Miles has problems with his door, which won't close and so pits at the end of the first lap, and so team engineer Phil Remington (Ray McKinnon) fixes the door with a mallet. Thereafter, Miles begins to set lap records while catching up with the Ferrari's. While racing with Ferrari driver Lorenzo Bandini (Francesco Bauco), Miles experiences brake failure and has his whole brake system replaced during his pit stop. Enzo Ferrari protests the move, but Shelby convinces the race officials that there is nothing written in the race rule book that says a team cannot replace the whole brake system, at which point the official backs down.

Miles and Bandini once again battle it out on the Mulsanne Straight until Bandini blows his engine, completely eliminating Ferrari in the race. About 21 hours into the race, Miles has driven convincingly amassing a significant lead, leaving three Ford teams in the top-three positions. Beebe hits upon an idea and orders Shelby to have Miles slow down for the other two Fords to catch up with him and provide the press with a three-car photo finish. Miles is initially against this decision, continuing to set new lap records towards the end of the race, but decides to let Ford have their way on the final lap. 

The French race officials, after initially agreeing to Ford's dead-heat 'photo-finish', reneged after the fact, stating that as the McLaren/Amon #2 car had started some 20 yards behind the Miles/Hulme #1 car, it had travelled a farther distance, and as such Bruce McLaren and Chris Amon were declared the winners on a technicality, with Miles and Hulme being awarded second place. Miles is however, graceful in his defeat and grateful to Shelby for giving him the chance to race at Le Mans.

Two months after Le Mans and following almost a day of testing the new model J-car at Riverside International Raceway in the blisteringly hot Southern California desert summer weather, Miles approached the end of the track's one mile, downhill back straight at a top speed of 200+ mph when the car suddenly looped, flipped, crashed and exploded in a ball of flame. The car broke into pieces and ejected Miles, killing him instantly. Miles was aged 47 when he died on August 17th 1966.

You don't have to be a petrol-head die hard fan of motor sport to like 'Ford v. Ferrari'. The film has a true story to tell, that Director Mangold keeps grounded in the truth and the facts surrounding these moments in motor sporting history that saw the true underdog of American motor manufacturing defeat the Italian Goliath's dominance on the race track over successive years. The pairing of Damon and Bale is well matched as two close friends who overcome adversity both on and off the race track, frustrations with the corporate establishment, numerous roadblocks and questionable decisions to ultimately win through yet pay the ultimate price in doing so. The story line is compelling, well scripted, the race sequences are very well realised, the performances strong and as an overall package it's a real crowd pleaser and a throw back to those films of yesteryear of a similar ilk - 1966's 'Grand Prix' and 1971's 'Le Mans' - in terms of spectacle and emotion, but updated with all the modern gloss that Hollywood can throw at it.

'Ford v. Ferrari' merits four claps of the Odeon Online clapperboard from a potential five.

-Steve, at Odeon Online-