He’s terrific.Īnd Brühl, the Spanish-born German actor who excelled in Inglourious Basterds, starts at brilliant and revs up from there. Hemsworth nails every vulnerable nuance of this conflicted charm boy. And when he marries said model, Suzy Miller, he’s floored when she dumps him for Richard Burton.
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He gets under the skin of a stud who gets o by bedding babes, be it a nurse (Natalie or a model (a live-wire Olivia Wilde), but who knows charisma is useless once he puts on his helmet. Hemsworth, the Aussie best known for playing the stolid Norse god Thor, is revelatory as Hunt. Plus, the two lead actors could not be better.
Hell, in this case, ignorance really is bliss, since Howard and Morgan lay out the F1 groundwork with a hypnotic skill hot enough to seduce the most rabid race-car haters. audiences, who purr for NASCAR, toward Formula One. His toughest hurdle might be the indifference of U.S. Working fast, loose and indie looks good on Howard, who’s on top of his game. Though 1977’s Grand Theft Auto, Howard’s directing debut, had car crashes to spare, Rush burns on a high flame of danger, sex and unexpected gravitas.
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But it’s Morgan’s core script, full of humor, heartache and verbal fireworks, that lifts Rush above the Fast & Furious herd.įree from the banal duties of filming Dan Brown pot-boilers ( The Da Vinci Code, Angels & Demons), Howard scores big in the spirit of the risk junkies in his film.
As it turns out, Howard’s relatively low $30 million budget did allow Oscar-winning cinematographer Anthony Dod Mantle ( Slumdog Millionaire) to shoot a series of racing sequences. Two rivals, Brit playboy James Hunt (Chris Hemsworth) and by-the-book Austrian Niki Lauda (Daniel Brühl), would engage in a hardcore war of psyches.
The early cash crisis forced screenwriter Peter Morgan ( The Queen), who came up aces with Howard on Frost/Nixon, to structure the script as the scariest thing known to Hollywood bottom-liners: a character study. I have a crazy hunch that Rush, about two real-life Formula One racers locking wheels and horns in 1976, may be the combustible, cheer-worthy surprise it is because director Ron Howard almost didn’t have the money to shoot the damn races.
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