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Rush is the story
of an unusual rivalry between two championship Formula One racers in the
1970s—a saga well known in England and Europe, less so here in the States. Screenwriter
Peter Morgan, who has spun gold out of real-life stories in such films as The Queen, Frost/Nixon, and The Last King of England, focuses on two
men who pursue the same sport but couldn’t be more different. James Hunt (Chris
Hemsworth) is a playboy and daredevil who’s willing to risk his life on the
track in exchange for the attention of sexy women and an endless supply of
champagne. Austrian Niki Lauda (Daniel Brühl), the black sheep of his banking
family, takes a cold, scientific approach to driving and the maintenance of his
vehicles; he has no social skills.

Director Ron Howard has brought this story to life with
unbridled energy, transforming each race into an adrenaline-charged vignette
that could serve as a master class in staging and (especially) editing action
scenes. His longtime editing colleagues Daniel P. Hanley and Mike Hill deserve
special mention, along with cinematographer Anthony Dod Mantle (whose immersive
technique served Slumdog Millionaire
so well). Mark Digby’s production design and Julian Day’s costumes flawlessly
evoke the ‘70s without showing off.

Ultimately, it’s up to Hemsworth and Brühl to delineate the
personalities of these polar opposites and make them credible, which they do.

What they can’t do is make us care about them, and it’s here
that Rush faces its greatest
challenge. Neither Hunt nor Lauda is especially likable or even admirable,
depending on your point of view. I may be a lone voice, but I don’t find
resonance or the stuff of great drama in their rivalry. It’s a mildly
interesting story, spiked with the inherent spectacle of auto racing and its
attendant dangers…but hardly Shakespearean or Greek in magnitude. The subplot
of Hunt’s failed marriage to a glamorous model (played by Olivia Wilde) is
dealt with so perfunctorily it’s hardly worth the time it takes to tell. Lauda’s
unlikely courtship and marriage is actually more intriguing.

Because Howard is a great director who has marshaled an
exceptional team of colleagues, Rush
offers a visceral moviegoing experience that will likely please many audiences.
But on reflection I think there is less here than meets the eye.

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