Weekly Review -- Heart and mind

Rush (2013) -- An adrenaline junkie's dream ride. A drama about mortals aiming for immortality. A tale of two men, each one living his passion and searching for truth in his own way. A film that works on numerous levels, Ron Howard's Rush justifies its title with every sequence, its story of inspiration a reminder of why we visit the cinema.

In 1970s Europe, the glamour and excitement of Formula One was addictive and unbeatable, pitting British playboy James Hunt (Chris Hemsworth) against cool-headed Austrian Niki Lauda (Daniel Brühl). At times playful and at times ruthless, the men's rivalry is only matched by the amount of heart that each one of them puts into the work, creating blacktop art with every race. As their personal lives get entwined with their desire for speed, both racers are chased by their demons, eventually paying a heavy toll...

Rush is not a film about Formula One racing. It is not an actioner and it is definitely not a stark, academic drama. It is a film about two opposing personalities working toward the same goal, living the energy and fumes raging through their bones. Howard is a filmmaker that recognizes the complex rhythms of unconventional mindsets, and here he explores two polar opposites in the context of constant danger and unforgivable mistakes. The contrast between the devil-may-care Hunt and the methodical Lauda is fascinating to watch, constituting the film's soul. While the impulsive Hunt approaches his job as a lifestyle that may just get him killed, the analytical Lauda views it as a living entity that one has to respect in order to survive. When Hunt charges, Lauda calculates. As Hunt goes through a bevy of women at his disposal, it is the psychology of engines that Lauda is occupied with. Throughout their conflicts and tribulations, their similar backgrounds and unwavering integrity occasionally bring them together and remind them that maybe they could actually share a beer and a few war stories someday. However, just when their encounters start bordering on friendship, another race gets under way to show how great the stakes are, how intoxicating speed is and how Hunt and Lauda's clash is slowly becoming part of their DNA.

The film's vintage cinematography and sharp editing need to be praised, since they are both integral to the experience. Anthony Dod Mantle's (Slumdog Millionaire, Dredd) cinematography makes the film feel like a postcard sent from another time. Daniel P. Hanley and Mike Hill's editing contributes to the fast pace of the scenes and creates a parallel to the culture portrayed, one that might resemble sheer chaos to everyday people. The two elements work together to add to a narrative that requires no addition in terms of exhilaration, but that certainly benefits from the mechanism of these aesthetics.

In order to flesh out a palpable and cerebral dynamic between the principal characters, Rush needed two actors with wit and magnetism to spare and found them in the form of Hemsworth and Brühl. Hemsworth is pure charisma as Hunt, who lives in the here and now and whose headstrong nature often prevents him from seeing the big picture. Brühl is fantastic as the practical Lauda, who values precision and safety above everything else and for whom winning is simply icing on the perfect cake. It has to be said that the actor's Austrian accent is impeccable and that he outdoes himself in the post-accident scenes. I also really liked Alexandra Maria Lara's turn as Lauda's wife Marlene, whose understanding of her husband's passion is on the same level as her incredible emotional strength.

Rush is one of those rare films that have the capability of appealing to everyone. It is a snapshot of a moment in time that ushered in a new era of image and sportsmanship. Entertaining and smart, it offers courage and vision wrapped up in a compelling duel, ultimately depicting ideals that we should all be striving for.

9/10