kitfah said: For real? I’ve been dying to see it. What was so great about it?
eveRYTHING??? i just
oh god like i just can’t stop thinking about it
chris hemsworth is a revelation as james hunt, seriously, he’s somehow incredibly layered and deep and vulnerable while being this shallow, cocky, dickish playboy and also incredibly likable all at the same time?? and bruhl as lauda is equally brilliant - this wonderful dangerous quiet brooding intensity that sets hemsworth’s playful immaturity off to absolute perfection. the actors have completely nailed the chemistry and the relation these two men have - they despise each other, rile each other in every way there is… and yet they have this deep, unabiding respect for each other that grows and deepens over the course of the film. they are arch-rivals and yet, kind of like a superhero/supervillain thing (although neither ever commits to one role, i personally found myself rooting for both of them by the end), without the other they would probably have never achieved what they did.
and aside from those two (i find it hard to look past them, in all honesty, which in my opinion is a good sign: two lead actors who utterly dominate the entire film, totally incandescent. any time they were on-screen i was so disinterested in everybody else, which should be the case with all films but often isn’t unfortunately) there’s so much going for it that i found. the female characters sadly take a backseat, but they’re still superb - lauda’s wife, quiet and incredibly resilient and so patient with such a difficult husband. suzie burns, who very sensibly cuts her losses with hunt, who never deserved her in the first place. and then gemma (natalie dormer’s character) is great, of course, it’s natalie dormer. the male background characters are also worthy of a mention - the rich, feckless crew surrounding hunt for starters, and also the long-suffering crew at ferrari.
the cinematography is gorgeous, seriously, the best i’ve seen in a while. the soundtrack is also brilliant - the roar of the cars provides the backdrop in a lot of places, which fits perfectly, with like a steady climbing crescendo of instruments beneath it which you sort of don’t notice and yet it weaves in perfectly, and the scenes would be poorer without it.
just. god. it’ll take something impressive to beat rush out of the spot of my favourite film of the year. i thought it was breath-taking, i can’t stop thinking about it.