«Le Mans 66: a fight from the engine to the heart

Cinema Wednesdays - Loris S. Musumeci

The car became a sacred object in the 1960s. A symbol of freedom, mobility and life. What's more, it was democratized. Every father could, and indeed should, provide his family with a car. In the United States, the Ford company inaugurated mass production of automobiles to supply the masses. But now the American brand is in decline; in crisis, in fact. Its cars no longer appeal to young people: the models only suggest the quiet life of the average American. The demand is for power, sport, tire squeal, dream.

Ford decided to enter the racing arena to modernize and rejuvenate its customer base. The American giant turned to the prestigious Italian. Together, Ferrari and Ford could embody both the summum of the popular car and that of the racing car. The meeting between the leading entities turns into a disaster, to the point of insults.

Henry Ford wants to build his own racing cars and crush Scuderia Ferrari at the 24 Hours of Le Mans, the world's most important motor racing event. But to do so, he needs an exceptional designer, a former racing driver, who can feel both the engine and the track. The famous Carroll Shelby (Matt Damon) is chosen. And he needs the best driver. He immediately thinks of his mechanic friend Ken Miles (Christian Bale), whose strong character doesn't necessarily suit the bigwigs at Ford.

The human dimension of the race

Le Mans 66, a car movie for car fans? Yes and no. Yes, because enthusiasts of the world of cars and racing are sure to find a film that speaks to their innermost feelings. Yes, because 1966 was a historic year, rich in emotion for the 24 Hours of Le Mans event. Yes, because the film offers viewers the vibrations of an engine at its heart.

No, because Le Mans 66 is not just about cars, sport and competition. It's about the human dimension of the racing world. And so, through a particular context, it speaks universally of passion and its transmission. I'm proof of that. Even before entering the theater, I was dreading the 2h33 I was about to spend in front of cars driving, driving and driving, to go where? Nowhere. To go round in circles. As far as my hearing was concerned, I dreaded the «vroum», «vroum» and even more the «ion», «ion» as I lapped the track.

What a surprise it was to discover that, after just a few moments, I was caught up in the game. As a non-driver who understands «cylinders» and «pistons» as well as Chinese, I couldn't take my eyes off the screen for a moment. I followed the design of Shelby and Miles' car with curiosity, I clung to the seat during the final race, the famous one at Le Mans in 1966, stressed and excited by the rising speedometer and the body-flush overtaking.

Sport, the business of a lifetime

It's James Mangold's direction as a whole that makes the immersion possible. Starting with the atmosphere of the hangars, where cars are built with the dedication of a sculptor. The atmosphere of the big offices where, with ties and cigarettes in their mouths, the race is a vital issue. The music lends an air of action, or more precisely of espionage, and helps to fill the characters' psychology with mystery. It also shows how a race is not a game or entertainment, but a struggle. A virile fight!

The protagonists' gazes convey the bubbling from the engine to their hearts. Their gazes give rhythm to the succession of images. The shots that frame these glances play ping-pong with each other, with the counter, with the track. And sometimes, it's in the gaze itself that we see the track through the lenses of the sunglasses; a process that may be banal, but it really works in this feature-length film.

We can't help but think of Rocky Balboa. From boxing to running, you'll feel in your gut just how much sport can mean to your life. Borg/McEnroe by Janus Metz Pedersen released in 2017 was an excellent example, but for tennis. Incidentally, I have as much knowledge of car racing as I do of tennis - which is to say, none at all - and I enjoyed both films just as much.

Passion, a gift from father to son

But the most poignant and profound element of the story lies in an unexpected dimension. The relationship between pilot Ken Miles and his son. Usually, the sportsman or artist is locked away in his or her own world, and the family is neglected. Here, the family is at the heart of the film. Ken Miles is passionate about cars. This passion is his gift to his son Peter. This passion is their bond. Their life, which the mother joins despite her initial reluctance.

I really enjoyed Le Mans 66 as a whole. Yet it's not the cars, the speed or the madding crowd that will stay with me. One shot, just one shot, is worthy of the greatest cinema: Ken Miles and his son crouched, side by side, on the practice track. Evening has fallen on them, the blurred lights behind them create a frame, isolating them from the world, uniting them in the common engine that keeps their hearts beating.

Write to the author: loris.musumeci@leregardlibre.com

Photo credit: © Twentieth Century Fox