Rush: thrilling ride through the world of Formula One. Among the best of Ron Howard.
It’s funny what happens to some sports and especially with automobile racing: are very spectacular , even epic , in the field or on the track , but outside of its natural environment such characteristics are very difficult to translate into film . This is the first challenge for Ron Howard in Rush. The second was to build an accurate and at the same time dramatically interesting of the two real players in which the film is based . Their duel on tracks provides exciting character, epic action film , but that’s not the most interesting or most difficult. The most interesting and the most difficult was to move the screen all those moments of confrontation between the two and their private lives. And do not fall into the topics that are usually common in the slippery and often unsatisfactory biopic territory. I think Ron Howard has overcome both challenges with skill, building a film that stands out in particular the balance between moments of action and dramatic moments . That gives a good pace to the whole. The director is right to build his film about the characters, instead of falling into the trap of turning over all their interest in racing. Howard carefully manages moments of action in this story that it reminds me two films that I like most of his films : Apollo XIII ( 1995) and The Missing (2003 ). In its Space Odyssey Howard applies an intimate tone even to the epic moments. Despite its many special effects, Apollo XIII remains so an actors movie. In The Missing, a western arguably very close to The Searchers, again set to the actors and their characters in front of the plot. Shooting, action and Chase sequences are very dosed. That produces a western so atypical as interesting which explores the genre in a very unusual way. Again this is a film of actors.
The same approach is repeated in Rush, where the duel between Niki Lauda and James Hunt is served by two very different actors whose pairing could in principle risky, but that has proved very beneficial for the film. Ron Howard putting it plays a movie star and film superhero blockbuster like Chris Hemsworth , Thor of the Avengers , opposite Daniel Brühl , an off-road actor able to follow in the footsteps of any real character or fictional in a perfectionist key that brings closer it to the own Niki Lauda. The result is that Howard offers a version that departs Hemsworth from which we have used the actor and gives a more complete picture of his talents as an actor, while allows Brühl deployed as a real predator planes perfectly understood that one of the essential keys of the film was to bring the real duel Hunt and Lauda to his fictional characters . And I had to find it not easy to unravel the keys of a complex character while mythologized as Lauda . The risk in biopic is always caricaturing real characters for the benefit of imposing narrative drama and fiction film . If something must be always clear is that any movie is the truth about any subject or real person. Nor should it be. The film can´t replace or replicate reality . Is precluded by its very nature as a show and his own identity as a result of escape and entertainment. Therefore should not require the absolute truth about anything or anyone to any film, much as we present under the promotional ad ” based on a true story “.
Repair that ” based on a true story ” is not the same as ” a true story ” .
So we should thank Rush not often fall into the trap of melodramatic embellishment of events or characters. The best example is how he treats the Hunt and Lauda relationships with women, with the greatest economy of footage, sometimes drawing a single plane or a glance to let it all clear to subtract anything real space theme of the film, which is the Lauda -Hunt match. Some might think to include in the story Lauda passing by the hospital is a concession to melodrama, but it is not. These sequences in the hospital are not a concession melodramatic, but an essential piece to understand the conflict between the two protagonists, which are two sides of the same coin in the competition: both united and faced by racing. Shows the consequences of that duel and also addresses the true nature of the deed of Lauda , which further reinforces final decision in that competition with Hunt, and on the track itself. Everything is linked and if anything can boast this movie is to be a very balanced puzzle in which very accurately fit all parts.
The result is a perfect film for fans of racing, a show very balanced and interesting even for those who have not seen one of these races in his life, and one of the best works of the director. Especially shines a great Daniel Brühl.
Miguel Juan Payán
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