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Ford V Ferrari speeds to the Oscars on the intensity of racing and its rivalries

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Ford V Ferrari burned rubber screeched into 2020 major awards season, nominated for a slew of categories. One of those categories for the 92nd Academy Awards is Best Picture. While the movie is very good, and definitely ranks among the best racing films made within the last several decades, it’s nomination for Best Picture is a bit of a surprise.

The story centers around the Ford Motor Company’s attempt to resurrect its brand by showing it could compete with Ferrari, the world’s most advanced, high-performance car manufacturer. The prospect is remote, although the company’s boss, Henry Ford, II (Tracy Letts), seems committed. He retains legendary race car driver and personality Carroll Shelby (Matt Damon) to design and build the car. Unfortunately, a heart condition keeps Shelby out of the race car. In his place, Shelby coaxes the brilliant, caustic, and personally volatile Ken Miles (Christian Bale) to join forces with him. As Miles goes about alienating everyone he runs into, it’s up to Shelby to play the corporate politics and keep him on the team.

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Review: Manchester-by-the-Sea Grips Audiences with Gritty Realism

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Manchester-by-the-Sea is one of those movies I sometimes hesitate to see. I am pretty sure I am going to like it, but in a crowded field of really good movies, which ones do I want to give up to see this one? Well, Manchester-by-the-Sea was well worth the time, and it’s earned its spots as a nominee for academy awards for Best Picture, Best Director, Best Actor, Best Supporting Actress (Michelle Williams, Brokeback Mountain, Shutter Island), and Best Original Screenplay. The movie is a gritty, compelling, down to earth story of tragedy and heartbreak that still sits in my brain, propelled by fine, grounded film making and exceptional acting.

Written and directed by Kenneth Lonergan (Gangs of New York), the story is set in New England and focuses on Lee Chandler (Casey Affleck, The Assassination of Jesse James, Gone Baby Gone, The Finest Hours) a handyman in Quincy Massachusetts who returns to his hometown of Manchester-by-the-Sea when his brother Joe (Kyle Chandler, Friday Night Lights, Bloodline) dies from heart failure. He finds that Joe has assigned him guardian of his teenage son, Patrick (Lucas Hedges, Moonrise Kingdom, Kill the Messenger). Lee is forced to confront the challenge of parenting a teenager and demons of guilt from the tragic loss of his children years earlier. He also must face the legacy of the tragedy that still lives in the memory of the townspeople, as well as Joe’s friend and partner George (C.J. Wilson).

The story starts out slow, as films of this nature tend to do; they are not action films. But the characters and story grip the audience as soon as Lee Chandler returns to his hometown. The story is complex and layered, with the screenplay providing a textbook example of how to reveal only what is absolutely necessary to keep the audience engaged, leave enough unsaid to maintain tension, and provide just enough information to keep the pace moving forward. Lonergan does an excellent job of splicing in flashbacks at just the right moments to enrich the plot and reveal the intertwined lives of the characters. We learn why some relationships are tenuous, some are frosty, and others are too hurtful to confront. The audience, however, is never overwhelmed with their complexity and layers.

It’s a poignant but real story, and Affleck leaves no doubt that he owns this film although the supporting cast is also superb. Central to the story is whether Lee can put the defining tragedy of his young life behind him. Other characters have found ways to forgive him and move on, but Lee struggles. Affleck deftly shifts from happy go-lucky young husband to self-loathing, guilt ridden wreck, but plays the part with a balance and reserve that keeps the audience rooting for his recovery. Viewers might leave the film a bit disappointed because it lacks a clear resolution. Then again, this is a story about real life, not fantasy.

Manchester-by-the-Sea has earned more than $50 million since its release in mid-December 2016, an astounding and well-earned return on its $8.5 million production budget. Producers Matt Damon and Chris Moore (among others) have proven once again they have a knack for finding a compelling story that can become a gripping movie without a big budget or A-list actors. This movie, however, might be the vehicle to put Casey Affleck back on the path to the A-list.

Jason Bourne and visual storytelling

Jason-Bourne-movie-posterI once read in a book on writing screenplays that movies are 80% visual, and this is one reason why movies are so successful at connecting with audiences. Humans are visual animals, and they interpret their surroundings based on sight. All the senses are important, but when it comes to identifying or assessing threats, or devising strategies, we rely on our eyes more than any other sense.

I was reminded of this while watching the most recent Jason Bourne film based on the Robert Ludlum character and novels. The film is a direct sequel to The Bourne Ultimatum, and it’s aptly titled because the story in this movie is really about Jason Bourne trying to uncover his true identity. The entire cast–Matt Damon, Tommy Lee Jones, relative newcomer Alicia Vikander and others–does a great job save for Julia Stiles playing Nicky Parsons (whose performance I thought was rather wooden). The plot is fast paced with two extended car chases, which should be enough to keep teenagers in age and heart more than engaged. In other words, Jason Bourne is an example of a big-ticket action film that’s also well produced on a big budget.

But that’s not what really impressed me.

Rather, the first 15 or 20 minutes of the film seemed like a masterful example of visual storytelling. We must have been five or ten minutes into the film before any meaningful dialogue was spoken by the main characters. Yet the entire story was essentially set up with visual cues and action.

The opening scenes have Nicky Parsons (Stiles) hacking into the CIA’s database to download files on the covert assassin programs run by the agency’s director Robert Dewey (Tommy Lee Jones). All she says, in effect, is the password to get into the warehouse were a platoon of hackers is working in a wikileaks manner to uncover dark secrets held by government. We immediately know she is active in trying to identify and expose the covert CIA assassin programs–Blackbriar, Treadstone–when she discovers a new program Iron Hand which is the surveillance programs of all surveillance programs. She also uncovers files that identifies Bourne’s father as a key player in setting up the initial Treadstone program. All this is done through Nicky’s actions–her expressions as she discovers different components, her fingers as she works the keyboard, the computer monitor as files and file folders appears–as movie goers look over her shoulder as she hacks away. She clicks on folders, opens and scans files, downloads them, and then escapes after the CIA identifies the hack and shuts the operation down. Thus, we, as onlookers, put the pieces together. We discover that the CIA is active in its covert program, the agency is more ruthless than ever, Nicky is hot on the trail and scared, and she still is doing a lot of legwork for Bourne. She cares.

In another highly effective exercise in visual storytelling, driven in part because Jason Bourne is a man over very few words, the director (Paul Greengrass) establishes that Bourne is alive and well, but living under the radar. Visual scenes with very little dialogue other than crowds yelling words depict Bourne in underground, presumably illegal, fights in Greece. That’s how Bourne now earns his living–cash in a cash society so nothing can be traced. No words are spoken by Bourne, but we know he is living a gritty, exhausting, meticulously low profile existence. And he’s tough and fit.

These are just a few of the sequences that depict a talented director and filmmaker practicing the art of “Show don’t telll.” For those interesting in film as visual storytelling, and thinking outside the box for ways to “show don’t tell” in narrative fiction writing, studying the first 15 minutes of Jason Bourne is well worth the effort.