In recent times, Ron Howard’s directorial offerings have been, to say the least, erratic. In the same decade, he has brought to the screen such cinematic delights as A Beautiful Mind and Frost/Nixon sandwiched between the disappointing How The Grinch Stole Christmas and The Dilemma. He is undoubtedly a director of many genres – his endeavours into romantic comedy and children’s fairytales haven’t always proven to be a resounding success amongst critics or audiences. Despite his questionable back catalogue, his latest filmmaking feat, Rush, sees him fit comfortably back into what he does best: biopics. As proven with 2002’s Best Picture victory, a biopic in the hands of Ron Howard is a sure recipe for success and, with critics tipping it to storm the Academy Awards in 2014, Rush looks sure to follow in its predecessor’s footsteps.
Set against a backdrop of 1970s Formula 1 racing, Rush explores the bitter rivalry and budding friendship of the vivaciously cool and seductively charming James Hunt (Chris Hemsworth) and the meticulously methodical Austrian, Niki Lauda (Daniel Bruhl). Based on true events, the narrative follows their lives on and off the track, including Hunt’s troubled love life and Lauda’s difficulty in maintaining interpersonal relationships stemming from his highly pragmatic and pedantic nature. Their conflict comes to a painstaking crunch in the 1976 world championship with both men willing to risk everything to emerge as victor – even their lives. In a sport devoid of mercy and two hotheaded racers battling it out for superiority, Rush is an explosive and exciting ride of a film in the fast lane.
Ron Howard consistently creates almost unbearable tension throughout the film; the deafening roar of the engines and the tidy editing of the exquisitely shot race sequences get hearts racing in anticipation. The lightning fast reality of the editing is equally enthralling and resonates the true nature of a Formula 1 race, which is something along the lines of ‘look and you’ll miss it’. Live action sequences and digital enhancements are blended seamlessly together to create a visual triumph lavished with tight editing and dazzling cinematography. However, Howard has not only faultlessly captured the high-adrenaline, ferocious honesty of the race sequences perfectly, but also balanced out such exhausting scenes with the brutal and at times gruesome recovery of Niki Lauda. Just as the audience can’t look away from the screen during the climactic races, they can’t help but look away in horror from the ruthless pictures of Lauda’s agonizing road to recovery. Howard expertly puts the reality of Lauda’s accident into brutal perspective that is as equally captivating and unbearable as the well-crafted race sequences.
Despite the sublime visual flair awarded the film, the narrative of Rush avoids being dominated by such action and remains character-driven; the complex relationship between the two leading characters is never abandoned and its evolution is explored to no end. The audience bears witness to their initial introduction, their bitter and costly rivalry and ultimately their friendship. The film sees Hemsworth put down the hammer and embody a character completely unbeknownst to him; he captures the ‘live fast and die young’ essence of Hunt’s mentality perfectly in a role that should not only garner him huge critical acclaim, but respect. He steps out of his typical heroic typecast; he is in many ways the film’s antihero. He certainly delivers an unexpected but refreshingly vibrant performance, one that is possibly the best of his career to date. Daniel Bruhl is equally astounding in a career-defining role that should propel him into the heart of Hollywood; his convincing and true to life depiction of a complex and endlessly intricate persona is worthy of every filmic accolade that will undoubtedly be thrown at it.
Ultimately, Rush hides no secrets; with every gear change and pedal pushed, complemented by real-life aerial shots and a stunning score accompaniment by Hans Zimmer, it is a high-octane, heat-fuelled and edge-of-your-seat thriller that is dashed with nuances of a dramatic biopic. Supported by a balanced and well-written screenplay, Rush is a true triumph of a film concerning a sport that is notoriously difficult to capture and replicate on film. Furthermore, Howard’s pedantic attention to detail is as resounding as the thud that entails from the film’s agonizing crash sequences; he brings the glitzy glamour of the 1970s to life through exquisite set pieces and period attire. Rush, it seems, has redeemed Ron Howard of his recent wrongdoings and easily surpasses 2002’s Best Picture winner in terms of excitement, intrigue and sheer quality.
Rating: This adrenaline-fuelled feat leaves little vroom for improvement (9/10)
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