We recently had the pleasure of viewing two recent films about the American Dream: James Mangold’s Ford v Ferrari (2019) and Regina King’s One Night in Miami (2020).
They’re both compelling, well crafted movies. They both do a good job of superficially re-creating the atmosphere of the early-mid 1960’s: the music, the clothes, the surface textures and colors of cars, buildings, appliances. They both have strong stories. They both have the added frisson of being about “real” people and events. They both have serious cinematic flaws.
One Night in Miami is based on a play, and it fully enjoys the main advantage of such adaptations: lots of sharp dialogue. But it also suffers the consequences: a film adapted from the stage feels stagy. The four lead characters are stuck in a rundown hotel room for two hours. Given their outsized personalities and the cramped quarters, both they and we start to feel hemmed in after a while.
Ford v Ferrari’s problems are more serious. We can’t feel the tension of the main plot line if we don’t understand some basics about race-cars, auto racing, the history of the Ford Motor Company, and the peculiarities of the 24 Hours of Le Mans. So there’s plenty of clearly contrived expository dialogue to bring us up to speed on all fronts. My God, man, you don’t want to race Le Mans…the turns aren’t cambered! More seriously, Matt Damon, who frequently can act, makes a half-hearted attempt to inhabit the rough-and-ready Texan Carroll Shelby (a role that, say, Matthew McConaughey would have nailed without even trying). Next to Christian Bale’s confrontational working-class British driver/mechanic Ken Miles, Damon practically vanishes.
But particularly after watching these two films in proximity, I find that the strangest peculiarity of Ford is that it portrays a world without Black people. Or more precisely, a world with only white people. (And, apart from Ken Miles’ wife, no women.) The checkered flag is the most integrated thing in the movie.
In Miami, by contrast, white folks are ever present, even though mostly off-camera. They have to be, because they are the reason for the story’s theme: the problem of how you survive, thrive, and maintain your dignity in a society in which the levers of power and wealth are held by people who hate anyone who looks like you.
But (I hear you ask) so what? Ford v Ferrari is about Grand Prix car racing in the mid-1960’s, which at the time was almost completely a white operation. (Regrettably, you are careful to add!) And (you continue, getting a little worked up over our political correctness) it’s a real story…about real people who just happened to be white! Can’t we just tell their story?
Fair enough. It’s just that for this viewer…after the #OscarsSoWhite movement, after the recent slate of films that really take an eviscerating look at the Black experience in this country (Moonlight, If Beale Street Could Talk), after Black Lives Matter, after George Floyd…a movie like Ford v. Ferrari seems empty, dull, unimportant. There’s so little at stake, really. It’s about a car race. If these guys lose, they might have to go back to more boring jobs than what they had before. Yes, racing is exciting, tricky, and dangerous. There are probably some really cool documentaries about it. (Like Senna.) But to make it dramatic in the theatrical sense, the film has to rig up a propagandistic contrast between good old fashioned American stick-to-itiveness and sneaky, sissified Italian elegance. (And no acknowledgement, in this paean to the American way, of the ongoing civil rights movement, of segregation, of the senselessly burgeoning war.)
So now it’s my turn to say, so what? Who cares who won the 24 Hours of Le Mans in 1966? One Night in Miami is a contrived drama, but its issues are anything but. Survival, artistic and professional fulfillment, dignity. And we don’t need any expository dialogue to tell us who Muhammed Ali, Malcom X, or Jim Brown are or why they were exceptional. (I admit, before the movie, Sam Cooke was only a name to me.) That’s because they weren’t just outstanding at their sport or their art. They risked their own financial security and physical safety, and stood up to the powers that be, in their own self-interest and on behalf of their entire oppressed community.
Hey, that would make a pretty good movie.


