Peter Morgan’s Rush (I just read the script from an April 2011 version) dives into one of the greatest, nail-biting sports rivalries in world history involving Formula 1 drivers Niki Lauda and James Hunt. The story begins during the pivotal Grand Prix race in 1976 Nürburgring, Germany, which involves a harrowing accident, before taking us back in time six years to give us a little backstory. We learn rather bluntly the contrasting personalities between the two athletes. The flawlessly attractive Hunt brims over with confidence and oozes ease; he doesn’t know the definition of working hard, nor has time to care. Lauda, on the other hand, is teeming with the hunger to push himself, and the script plays up a rather stereotypical Austrian business sense and practicality. He’s crafty, full of knowledge, and knows precisely when to play what card in everyday matters; in normal circumstances, he keeps his emotions guarded and in check. Hunt lives in the moment and enjoys life, where Lauda is constantly thinking of the future and looking out for himself and those under his care. They have both had rather fortunate starts in life, and it’s Lauda’s quest for glory (and the monetary rewards that would bring) in a field he most excels and his belief in himself and potential that sparks the catalyst in Hunt’s soul to manifest himself as a worthy adversary.
Morgan uses a hospital setting to make the transfer back in time, while rudimentary, is also quite harmless. He even inconsistently includes voiceover narration at time that is surprisingly not very distracting. The writing and structure have an artificial feel, especially considering that the supporting characters aren’t multidimensional (or treated as significant, really) and sometimes a little obvious, yet, simultaneously, everything feels weirdly authentic. It’s hard to imagine a film like this being written any other way. If all the important facts contained in this script are true, Morgan is fortunate enough to have the power of reality as his muse. Yet, his rather swift and clean method of storytelling is oddly reminiscent of Lauda himself. Though, there is one point where we get a scene with the voice of Richard Burton (which, I'm assuming must have happened, or else why throw it in other than out of feeling enamored), which felt completely out-of-place. Perhaps its intent was to dwarf Hunt and highlight his emerging inadequacies, but it felt more like a stunt cameo.
My only main qualm essentially was towards the end when a setback and rehabilitation process seemingly defies the passage of time in the context of the story. But, I imagine this, as well as other shortcomings could hopefully be fixed with the nuance in the direction. It’s an engrossing script, full of intensity that one can barely even begin to imagine on the big screen. While the subject matter of Formula 1 racing isn’t an area that demands my attention, the human interest in Morgan’s script and his detailing of this amazing story touches on a rivalry theme that audiences aren’t unfamiliar with (Amadeus, even Black Swan to a lesser extent).
Oscar Prospects
Morgan has been nominated for Frost/Nixon, as well as The Queen, and is much in demand for more prestigious projects (he also cowrote the script for Howard’s next film starring Chris Hemsworth, an 1800s whaling drama). He also acts as producer on Rush. Ron Howard has a surprisingly diverse genre of movies under his belt. Besides comedies and Dan Brown adaptations, he’s done western (The Missing), fantasy (Willow), family (The Grinch), and romance epic (Far and Away); he’s dealt with cars before (his directorial debut Grand Theft Auto) as well as sports drama (Cinderella Man) and action (Backdraft). When it comes to the cross section of where Oscar and commercial success meet, however, the space drama Apollo 13 and A Beautiful Mind have been his biggest successes. He also managed major competitive bids for Frost/Nixon including Best Picture five years ago. Cinderella Man also collected its share of nods in 2005.
The early word has been quite promising. Variety stopped short of calling it the best picture of the year.
EW thought Howard hasn’t outgrown more juvenile cinematic interests. The best parts of the movie are the racing, which are all inventively filmed. The characters and rivalry are painted with broad strokes, and the supporting cast is one-dimensional, but all is redeemed in the third act, including a portion I was hesitant about (the rehabilitation process). They gave it a “B” grade.
THR predicted limited rewards for domestic box-office, but anticipates an international jackpot. Cites Morgan’s screenplay elevating the characters above the “serviceable” action, pointing out that Mantle’s “grubby” cinematography is appropriate for the time era and technological condition of the racecars. Thinks hardcore F1 fans may object to extreme portrayal of Hunt. Liked the performances.
Guardian: Offers “great human drama” and “one of the fastest, most enjoyable rides you will take this year.” For all its emphasis on cars, “it’s a racing film that lets you forget the racing.” Hemsworth only works in the context of the movie’s flash and style. 4/5 stars.
At this point, with Rush about to enter limited release in less than a week, the locks would be sound effects editing/mixing, and Daniel P. Hanley (Howard’s go-to editor who has four nominations under him, including a win for Apollo 13)/Mike Hill (his partner on all of those films), and Daniel Brühl, a German character actor whose highest profile role stateside thus far has been in Inglourious Basterds, campaigned as supporting actor (despite being a lead) are almost sure things. I should note that the main poster shrewdly has Hemsworth front and center. Even though the movie is about two drivers, the marketing, by default of displaying the “bigger star” is also conveniently placing Brühl in a more “supportive” position.
That wouldn’t be a bad place to start when making a case for Best Picture. In fact, if it doesn’t get in, I imagine it just barely missing. Score (Hans Zimmer, who is also behind 12 Years a Slave) and makeup would also be in play here, and perhaps even visual effects. Cinematographer is Anthony Dod Mantle who won for Slumdog Millionaire and also stands a chance (this would be his first prestige project since).
But a full windfall of nominations is likely going to be incumbent on box-office. Ron Howard, while a respected veteran, isn’t a big name like Steven Spielberg, who draws a crowd. Even his Da Vinci franchise, while it cleaned house internationally, fell short domestically. In fact, his last three films failed to make their budget back in the U.S. At $38M, thankfully, Rush’s bar is seemingly set low. Even Universal’s lowest grossing Fast/Furious film has cleared $60M, and the more comparable dramatic-interest Days of Thunder made $83M (I remember it having the label “Top Gun on wheels” attached to it and then falling short of people’s expectations), albeit over two decades ago and with a huge star. The tendency for a lot is to be hesitant about this film’s commercial prospects, which I think is warranted. I hope this film does build an audience, as it deserves one. But, stranger things have happened, so it wouldn’t be out of the ordinary for audiences to reject a well-done, finely tune piece of dramatic entertainment. Yet, I blindly believe they will accept it for some odd reason (they’re likely to overseas, anyway, where Formula 1 is an easier sell).
Sound Effects Editing > Sound Effects Mixing > Supporting Actor > Editing > Makeup > Score > Screenplay > Best Picture > Cinematography > Visual Effects > Director
Plot Summary (spoilers)
It’s the 1st of August, 1976. Niki Lauda (Daniel Brühl) prepares for a Grand Prix in Nürburgring, Germany, along with James Hunt (Chris Hemsworth) and Jochen Mass (Cris Penfold). Lauda chooses to go on wets instead of slicks on a day that just saw the end of a rain, which turns out to be a bad decision prompting him to pull over into the pits and change to dry tyres. After gaining momentum from being behind, he crashes and finds himself engulfed in flames. He’s eventually saved and taken to the hospital. Six years earlier, Hunt enters a hospital with minor injuries sustained from a fight which resulted from sleeping with another man’s wife. He has quite the swagger and ends up turning a nurse’s examination into a tryst back at his apartment. He explains women’s attraction to race-drivers are because they are close to death with each event, and “the more alive you feel … the more alive you are,” in the context of being that much closer to a victory.
The current formula 3 driver takes Nurse Gemma (Natalie Dormer) to the Crystal Palace Race Track in London and introduces her to his team of Doc Postlethwaite (Jamie de Courcey), Bubbles Horsely, and Alexander Hesketh (Christian McKay). They toast to that day’s event and Hunt vomits to clear himself of pre-race jitters. During the race, he cuts Lauda off by the slimmest of margins, leaving him no choice but to brake and is sent into a tailspin. An ambulance is stalled on the track and forces a restart and a short fight between Hunt and Lauda ensues. In the second start, Hunt speeds off, but Lauda catches up. Hunt rams into Lauda causing them both to spin. Hunt recuperates, but Lauda is left facing the wrong direction in a stalled car. Before he can vacate, another driver careen’s over the nose of his vehicle. He escapes, but a second driver smashes into his car. Lauda barely gets off the track with his life from other oncoming racers, and the cars slam into one another and creates a huge wreckage. Much to Lauda’s dismay, Hunt is awarded the winner of the race.
In Vienna, Lauda explains in voiceover how he approaches racing like a business. With his lawyer, he meets with Louis Stanley at an airport café and offers him 2.5 million Austrian schillings in exchange for a car, team of mechanics, and a place on his team, as well as a stake in winnings (we as an audience might temporarily find that a bit off-putting, as it appears Lauda is basically buying his way into Formula 1). In London, Hunt wins an award. At a club, his team explains to him that Lauda is bypassing Formula 2 and on his way to Formula 1.
The track manager Agnes Bonnet (Joséphine de La Baume) greets Lauda at the Paul Ricard Circuit in Marseilles, France, and mistakes her for a receptionist. At a BRM workshop, Stanley introduces Lauda to the team including Jean-Pierre Beltoise, and Clay Regazzoni (Pierfrancesco Favino). A mechanic shows Lauda his car, a P160 identical to Regazzoni’s, but heavier than Lauda expected. Lauda challenges Stanley to let Regazzoni drive his car, which he think will result in a faster time. Stanley takes him up on the challenge is shocked with the results and asks Lauda for the secret. Lauda uses it as collateral and renegotiates their original deal. Lauda flirts with Bonnet. Regazzoni reveals to Lauda that Bonnet just had her heart broken by Hunt. Lauda ends up standing her up.
Hunt drives out to Easton Neston owned by Hesketh, where he’s introduced to his new car, the March 731 and an unsponsored place in Formula 1. Hunt’s team arrives at the Belgian Grand Prix, the Nivelles-Baulers Circuit, two weeks later making a very loud and flashy impression. However, a horrific and fatal accident resulting in a decapitated driver and stealing their attention, leaves Hunt a bundles of nerves. Lauda and Hunt have a brief pre-race standoff. Lauda ends up beating Hunt rather effortlessly and takes 2nd place. Later, Bubbles give Hunt a dress-down and informs him he’s going to change his ways in all areas of his life if he’s going to excel at Formula 1. At Easton Neston, he’s surprised by Suzy Miller (Olivia Wilde) while practicing visualization techniques for the upcoming Monaco race. They get married. That day, his team informs him that Lauda has signed with Ferrari, following along with Regazzoni. In northern Italy, Lauda prepares with Enzo Ferrari and his team. They hold a press conference. While driving, Regazzoni educates Lauda on Ferrari, but his practical, cold, individualistic spirit is too much for him. Feeling like an outsider at a fancy party, Lauda hitches a ride with departing guest Marlene Knaus (Alexandra Maria Lara), who is on her way to Ibiza and offers to drop him off in Maranello. He uses his automotive acumen to inform her all the different things the matter with her car’s operation. Lauda tries to fix the car when it breaks down. They hitchhike and find a group of guys who recognize Lauda. They have Lauda drive and he shows off his skills much to their pleasure.
It’s now 1975, in Monaco, Lauda races Hunt in a Ferrari 312T. Hunt has improved, but Lauda wins, and begins a streak of sorts around the world. The men exchange words after a race in Watkins Glen, New York, and it’s clear that Hunt is back to his old ways. In Salzburg, Lauda and Marlene discuss Hunt. Hesketh informs Hunt that they have run out of money and missed the sponsorship deadline. On the phone, Hunt begs his brother Peter for a race. He takes to drink and Suzy leaves him. Hunt has a meeting at the at the McLaren headquarters with Teddy Mayer (Colin Stinton), John Hogan (Patrick Baladi), and Alastair Caldwell, about joining the Marlboro team. Hogan calls Lauda in Salzburg and lets him know about Hunt’s plans.
In Sao Paulo, Brazil, it’s the opening race of the Formula 1 season, for which Hunt won the qualifying placement for pole position in his McLaren M23, but chokes, leading Lauda to victory. He continues to beat him in Kyalami, South Africa, and Long Beach, CA, Jarama, Spain, Zolder, Belgium, and Monaco, due sometimes to technicalities and vehicular failure on the part of Hunt’s racecar. In the last race, they get into an argument where Hunt complains again about not having a level playing field. At McClaren, Hunt learns that Suzy is rumored to be having an affair with Richard Burton. He flies to NYC after her and ends up speaking with Burton, before divorcing Suzy. His team calls him with the good news that his car is fixed.
At the Paul Ricard Circuit in France, and Swedish Grand Prix, Hunt wins. As well, his disqualification in Spain is overturned, and he earns another victory as a result. He wins the British Grand Prix. There’s a press conference afterwards. Lauda and Marlene get married in Vienna. They fly a plane, enjoy their honeymoon in Ibiza. Marlene catches him during visualization techniques for the Nürburgring race and it’s clear he is becoming overly obsessive about winning the Formula 1 season.
Now that we caught back up with the script’s introduction, it’s day of the race, and there’s an accident during a testing. Lauda holds a driver’s meeting to vote for cancellation due to weather conditions, coupled with the treacherousness of the track. His suggestion isn’t received well, especially by Hunt. Lauda is overruled, led by a protest from the charismatic Hunt. One of the drivers, Mass, puts dry tyres (or slicks) on his car. Lauda goes on wets, and Hunt follows suit. Both of them end up having to change to slicks due to the lack of traction. Hunt is stopped by Lauda’s accident. At the hospital, we learn that the unconscious Lauda has incurred possibly fatal burns to his lungs. Lauda receives last rites (!), despite not yet being dead, as we learn from his POV. He wakes up later. It is clear that he will never be the same, as the accident has destroyed him physically, leaving him with no eyelids, and severely deformed. Lauda goes through rehabilitation as he watches Hunt slowly catch up to him in points with each subsequent race, until he passes him in Watkins Glen. There’s a painful scene where Lauda, who is in no condition to race, let alone function, puts on his helmet.
At the Italian Grand Prix in Monza, Lauda surprises Hunt. When Hunt expresses remorse about encouraging the German race to go on and feeling responsible for Lauda’s accident, he responds, “You’re equally responsible for me getting better.” Incredibly, Lauda pulls ahead of Hunt in points. At the Fuji Speedway in Japan, the final race of the season, Mario Andretti (Kristofer Dayne) wins pole position. Another press conference is held where Hunt is visibly off his game, and Lauda is relentless with his quest to win. Bubbles gives Hunt a pep talk. Later, Lauda sends a stewardess to Hunt’s room. A driver’s meeting is held on the day of the race, and it’s canceled due to poor weather conditions, but the Japanese Grand Prix goes on anyway. Caldwell drills holes into Hunt’s helmet to let the condensation out. Lauda and Hunt affectionately salute each other moments before the start. The race begins and there is a montage of each racer’s mental thoughts and what they’ve been through and who they are as people. Hunt ends up winning, though he’s unsure at first. But, it turns out that Lauda had withdrew.
Lauda visits a celebratory Hunt in Northern Italy. Hunt seems to think that winning once against a physically disabled man is enough. Lauda, as relentless as ever, looks forward to future races. Ending placards let us know of each other’s fates. Lauda would go on to be world champion twice. And Lauda would die penniless at age 45. Roll credits.
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