Written by Liam McConville

Edited by Matt Wilson

WARNING: SPOILERS ALERT

 

Ron Howard’s latest offering sees the acclaimed director delve into the stylish world of Formula One. Rush is the thrilling tale of the great rivalry between James Hunt and Niki Lauda, which culminates in the duo scrapping it out for the 1976 World Championship. The battle between these two is infamous, and provides such a compelling ready made narrative that it’s a wonder that no-one has already made a film about it.

With its mixture of glamour and pure high speed adrenaline, Formula One really should be a gold mine for film makers, ready to be exploited and shown to the world. But perhaps the reason it hasn't been is that there is a much darker side to the sport, which was made clear in the outstanding documentary Senna. The film highlighted best the danger of the sport, and how sometimes it can even end in death. This is the territory that Rush ventures into, and although it encapsulates the swinging 70s and is a lot of fun, the more serious issue of death is always lurking. 

Hunt and Lauda competed in an era which is unrecognisable nowadays, where death was simply an occupational hazard. Several drivers perished behind the wheel before the safety of the drivers was improved (thankfully the last fatality in F1 was in 1994). Howard does well to create a constant sense of foreboding; the build-up to Lauda’s traumatic crash at the Nurburgring is particularly unnerving.

Rush benefits from some excellent casting; Daniel Brühl is excellent as the cautious,  borderline reclusive Lauda. Elsewhere it’s a case of Thor-mula One (oh dear) as Chris Hemsworth takes off his cape to give an assured performance as the charismatic Hunt. Almost all of the supporting cast work well, although look out for the rather bizarre casting of Stephen Mangan.

Hunt and Lauda were polar opposites, only united by their desire to win almost at all costs. The film charts their respective paths to the top, showing how each of them earned their seat in motor sport royalty. Hunt is the ultimate playboy, something Hemsworth revels in, while also portraying the complexities which existed beneath the surface of the immensely popular Englishman. Lauda is shown as cold and calculated, buying his way in, and then staying there thanks to his vast technical knowledge and raw ability.

The action really picks up with the battle for the 1976 World Championship. The two great rivals are finally both in top cars, Hunt driving for McLaren and Lauda in a Ferrari. Hunt here is the underdog, battling against dubious authorities and the genius of his nemesis in his to bid to dethrone the reigning champion, Lauda. Of course what happened at the Nurburgring shapes the final third of the film. It leads to some harrowing scenes in the hospital as Lauda fights for his life, Hunt’s success in his absence, which spurred the Austrian on in his battle to return to the track.

The sheer desire and will to win from both men is very admirable and leads to a thrilling climax that stays true to what really happened. The ending to this particular Championship really is the stuff of Hollywood dreams.

The actual racing scenes are a triumph. Howard excels in capturing the speed and ferocity of Formula One, and although there is the feeling that the rivalry is overdone at times, generally the Hunt-Lauda dynamic works well and feels very real. Beneath all the animosity there was a lot of respect between the two, something that really comes across in the final few scenes.

This film is more than just an ordinary sports film; it’s a character study of two obsessives and how far they’ll go to achieve their ultimate goals. It’s one that will be enjoyed by both Formula One experts and novices, which provides plenty of thrills and spills as it roars all the way to the chequered flag.