Joseph Kosinki’s highly enjoyable F1 The Movie relies on a tried-and-true formula, one that predates even Sam Peckinpah’s 1969 western, The Wild Bunch. It centers on the aging protagonist – be they athlete, thief, or cowboy – embarking on one last endeavor. While aging actresses often face less glamorous roles, there’s something compelling about this narrative of a seasoned individual pursuing one final chance at glory. Their ambition remains undiminished, even as their physical capabilities decline. These roles offer male actors a rewarding second act, often showcasing some of their finest performances.
Echoing a somewhat outdated sentiment, Brad Pitt seems to be improving with age. In F1, he embodies Sonny Hayes, a weathered racer who travels from place to place in a van equipped with basic necessities, available to drive for anyone in need. It’s a precarious way to live. We see him preparing for a small-town race with a mere $5,000 prize, a bundle of nervous energy as he does pull-ups, splashes his face with ice water, and places a playing card in his suit pocket for luck. He then gets into the driver’s seat and wins. Sonny Hayes is the quintessential name for a has-been. After collecting his winnings, he heads to a laundromat where an old friend, Ruben Cervantes (played by Javier Bardem), finally catches up with him and attempts to lure Sonny back for another opportunity.
Sonny was once a celebrated racer in the ’90s, destined for greatness until a near-fatal crash derailed his career. Since then, he’s lived a low-profile life, participating in various races. Ruben, his former teammate, now owns a struggling F1 team, APXGP, and despite Sonny’s initial reluctance, he eventually agrees to join, arriving in London for training looking disheveled. Despite appearing nonchalant, he’s deeply stressed. Joshua Pearce, his eager new teammate, is unimpressed by the older driver, describing him to his mother as ancient.
The predictable clash between the two is a recurring theme. Kosinski, who previously directed Top Gun: Maverick, uses a script co-written with Ehren Kruger, which may overemphasize the generational conflict. However, the drama primarily serves as a backdrop for exhilarating racing sequences. Despite my own lack of driving experience, I found myself captivated. During one scene where Sonny skillfully navigates a challenging track, I noted that it “must feel like flying.” This metaphor becomes a literal plot point, but it works. The F1 Grands Prix races take place in glamorous locations like Abu Dhabi, Monza, and Las Vegas, and the organization granted Kosinski and his team access to film during actual events, albeit during off-times. This adds to the film’s authenticity and excitement. Both Idris and Pitt perform their own driving, reaching speeds of up to 180 mph (compared to professional drivers’ 220 mph). They effectively portray the thrill and emotional intensity of race-car driving, while the crashes are depicted with disturbing realism, creating a symphony of screeching tires and intense flames. This helps explain Sonny’s many superstitions.
F1 is a Jerry Bruckheimer production, exhibiting his trademark style. While known for action films like Con Air and Armageddon, Bruckheimer’s portfolio also includes films like Cat People and Veronica Guerin. The film also benefits from the expertise of F1 champion Lewis Hamilton, who served as an advisor, producer, and even makes a cameo. The cast is excellent, with Idris delivering a strong performance as a young competitor. Kerry Condon is also charming as the fictional first female F1 tech director, who bikes to work in the English countryside, stating that her job is to “feel” the wind.
Ultimately, Pitt takes center stage. His weathered face tells a story of mistakes and regrets. F1 also highlights the allure of racing equipment, from the jumpsuits to the helmets. While showcasing the glamorous aspects of racecar driving, Pitt’s Sonny also reveals the potential for a dream to consume one’s life. The audience is rooting for him to win that final race. Despite the familiarity of this narrative, it resonates because of Pitt’s ability to embody universal feelings about aging and the realization that one’s best days may be behind them. At 61, Brad Pitt is perfectly cast in roles like these, and as F1 demonstrates, they can be a highlight in an actor’s career.
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