(Release Info London schedule; November 14th, 2019, Everyman Broadgate, Finsbury Ave, London EC2M 2PF, United Kingdom, 21:00 pm) "Le Mans '66" From James Mangold comes a film inspired by a true-life drama about a powerful friendship that forever changed racing history. In 1959, Carroll Shelby (Matt Damon) is on top of the world after winning the most difficult race in all of motorsports, 'The 24 Hours Of Le Mans'. But his greatest triumph is followed quickly by a crushing blow, the fearless Texan is told by doctors that a grave heart condition will prevent him from ever racing again. Endlessly resourceful, Shelby reinvents himself as a car designer and salesman working out of a warehouse space in 'Venice Beach' with a team of engineers and mechanics that includes hot-tempered test driver Ken Miles (Christian Bale). A champion British race car driver and a devoted family man, Miles is brilliant behind the wheel, but he’s also blunt, arrogant and unwilling to compromise. After Shelby vehicles make a strong showing at 'Le Mans' against Italy’s venerable Enzo Ferrari (Remo Girone), 'Ford Motor Company' recruits the firebrand visionary to design the ultimate race car, a machine that can beat even 'Ferrari' on the unforgiving French track. Determined to succeed against overwhelming odds, Shelby, Miles and their ragtag crew battle corporate interference, the laws of physics and their own personal demons to develop a revolutionary vehicle that will outshine every competitor. But their tireless efforts take a difficult toll; for these bold men, victory comes at a price. The film opens with Shelby’s victory at 'Le Mans' and his subsequent diagnosis, before moving forward in time to 1963, when 'Ford Motor Co.', once the industry leader, is trailing in sales behind 'U.S.' competitor 'General Motors'. 'Marketing Executive' Lee Iacocca (Jon Bernthal) suggests that if Henry Ford II (Tracy Letts) wants to appeal to the young people of the day looking to buy their first cars, the company should focus on speed, if Ford has winning race cars, their consumer automobiles would become that much more attractive by association. Since no company produced faster or sexier cars than Enzo Ferrari, an acquisition of 'The European' carmaker seems like the answer. An envoy of top executives is dispatched to Ferrari headquarters to negotiate the purchase of 'The European' carmaker only to return to Michigan empty-handed. Outraged, Ford immediately places his right-hand man, senior vice president Leo Beebe (Josh Lucas), in charge of a new high-tech race car division, 'Ford Advanced Vehicles', tasked with quickly building a car that will beat Ferrari at their own game, defeating them at 'The Mount Everest Of Motor Racing', 'Fhe 24 Hours Of Le Mans'. 'The FAV' team builds the exciting-looking 'GT40 Mark I', but it's first outing at 'Le Mans' in 1964 ends miserably. All three models fail to finish the race while Ferrari’s place first, second, and third. Finishing fourth is the 'Shelby Daytona Cobra Coupe', a fact that Ford II doesn’t fail to notice. Ford II hires Shelby to develop, test and ultimately oversee the corporation’s entire racing program, but Shelby’s lead test driver Ken Miles complicates the relationship. The outspoken Miles quickly makes an enemy of Beebe, who does his best to manipulate Shelby and box-out Miles at every turn. Still, against impossible odds and virtually non-stop corporate interference, Shelby and his team, which also includes chief engineer Phil Remington (Ray McKinnon), and young British mechanic Charlie Agapiou (Jack McMullen) build one of the greatest race cars ever produced; 'The Ford GT40 MKII'. The vehicle changed the perception of both Ford, and America itself, when it takes part in one of the most infamous racing showdowns in history, the 1966 running of 'Le Mans'. The most challenging sequence to capture by far is the restaging of the 1966 running of 'The 24 Hours At Le Mans' race. The last 40 minutes of the film is this race predominantly, and you really feel like you're hunkered down and living in the race. The film loves that idea of racing for 24 hours to start to dawn on you, to feel what that really would be like trying to drive faster than any man for longer than you ever can stay awake. The magic of that, of driving 200 miles per hour in the most cutting-edge race-car prototypes on a series of French country roads over and over again through day, night, rain, sleet, dawn, dusk, doing that for 24 straight hours in one vehicle seemed like the most powerful thing we could try to convey. The central drama turns on the heated relationship between renegades Carroll Shelby and Ken Miles. Like legendary car racer and sports car builder Carroll Shelby, whose creations included 'The Shelby Cobra' and 'Shelby Daytona', as well as modified race-worthy editions of Ford’s legendary 'Mustang' series, 'The Shelby Mustang' celebrity status stretches back decades. Shelby had been a great driver and had kind of hit the pinnacle of that. Because of this heart condition, he’d lost his great love. He does wear a cowboy hat, but he wears it selectively in key scenes where it intentionally is supposed to seem a bit over-the-top along with his crocodile cowboy boots. He's really on the cusp of fading into oblivion and just being another guy hustling trying to sell cars to people. This Ford opportunity is a once-in-a-lifetime chance for him. The stakes are incredibly huge for him as they're for Ken Miles. Miles drove tanks in 'World War II' before finding his way onto the race track. Shelby just feels Miles is indispensable to this mission, and Ken is known for not suffering fools. He's irascible and not afraid to speak his mind and did not want to just fall into step with everybody else. If he thinks an idea is stupid, he’d tell you, and he has very little political skill or diplomatic skill. In terms of costume, Miles spends much of his time wearing a racing suit and coveralls. They refer to him as a beatnik, even though he never dressed as a beatnick. And so he's a constant source of frustration to Shelby because he couldn’t get out of his own way. But Shelby really needed him to help build the car and to then subsequently drive it at 'Le Mans'. It's one of the most legendary tales in the history of motorsports. Carroll Shelby, working closely with his spirited test driver Ken Miles, develops a revolutionary car that bests a fleet of vehicles built by Italian racing legend Enzo Ferrari at the 1966 running of 'The 24 Hours Of LeMans'. This is the story of a group of unconventional thinkers who overcome incredible odds to achieve something extraordinary through sheer inventiveness, determination and force of will. The film offerers the opportunity to stage thrilling racing sequences that essentially puts the audience inside the cars with these fearless drivers, and the chance to chronicle the turbulent friendship between Shelby and Miles. Both had quite distinct, larger-than-life personalities, Shelby, tough yet eminently likable; Miles, prickly and unfiltered, but they're united by a passion for innovation and an abiding love for racing. Quite simply, Shelby and Miles are driven to excel, even if it means putting their lives on the line every time they got behind the wheel. They understand each other at the most profound level. When Shelby’s confronted with the fact that he can’t race anymore, he reinvents himself from a driver into a car salesman and designer, and Ken becomes a vessel for Shelby’s dreams. But Ken can’t quite filter himself or control himself in corporate situations or publicity situations. He just says whatever he thinks, so Shelby takes on this role of protector or spokesman for Ken. They've a very symbiotic relationship. One fills in where the other leaves off. Lee Iacocca, who, from his humble roots as the son of Italian immigrants in Allentown, Pennsylvania, becomes a legend in the automotive business, reviving 'U.S.' automaker 'Chrysler' during the 1980s. His strength comes from his intensity. It comes from his intellect. When he's at Ford, Iacocca has the presence of mind to understand that there's a whole generation of 17-year-olds with money in their pocket who are interested in rock ’n’ roll and sex and moving fast, and the stale, stagnant repetition of reproducing 1950s cars is failing Ford. Lee Iacocca is the flashiest exec on the team. He’s got a good shark skin suit, mohair suits, little slivery ties, ultra ’60s. Mollie Miles (Caitriona Balfe) is Ken’s wife, and mother to their young son, Peter (Noah Jupe). Even though she’s a stay-at-home mom in the film, she’s very much an equal partner in the relationship. She wears old 'Wranglers' from the 1960s and cotton sweaters or shirts. She's’s a little rough around the edges with his personality and his people skills may not be that great. But this is where their relationship is strong. She tells him when he needs to pull up his boot straps and to also encourage him. There’s this real sense that they’re a team who supports each other. Detroit auto legend Henry Ford II is 'The CEO Of Ford Motor Company' from 1960 to 1979. It’s a classic story of man versus machine, man versus man, and man versus himself. It touches upon a lot of the points of a sports story, but at the same time the historical story that’s being told here's a good one. A lot of the cars that we know now, and a lot of the advancements we’ve seen with technology, starts with this period. By contrast, they’re ample archival images of Henry Ford II available to create a full picture of the auto titan’s fashion style. The film outfits Ford himself in classic 'Brooks Brothers' suits. Old money, button-down shirts, blue blazer, it’s recreating what they really wore. And he always wore navy blue with plain navy blue ties. His clothes are very traditional. Leo Beebe, is 'The Ford Motors Company' executive who's given control over Ford’s racing program. He has a shadier color palette, a little bit darker, a little bit oiler. Like his father, Peter Miles is completely consumed with the sport of car racing. Peter is a happy boy, but he’s also a kid whose dad could die at any point in a race. From an early age, he’s been brought into the racing world and wants to be a racer when he’s older just like his dad. It’s all he’s ever known. Phil Remington is the chief engineer at 'Shelby American'. A technical genius who can fix or fabricate anything, Remington is a key partner to Carroll Shelby in helping develop 'The Ford GT40 MKII' that takes on Ferrari at 'Le Mans'. Charlie Agapiou works with Ken Miles at Miles foreign car repair shop in Hollywood before joining him at Shelby’s shop in Venice in early 1963. Ken is something of a father figure to young Charlie. The challenge is how to navigate this story so that audiences feel the love and camaraderie and energy of these drivers and designers and mechanics and pit crew, but it doesn’t depend upon a cliché kind of victory. Whereas the Ford executives are sort of cool, wearing blues, grays, silvers, the Ferrari people are more old world. Their wardrobe is primarily browns, creams, knit ties, vests. The film gets deep enough into these unique characters, the winning and the losing of the races is secondary to the winning and the losing of their lives. One can believe that they’re characters who represent the last of an old school, brave, humble, gracious, male prototype. This is an inflection point in both of their lives. The goal in an age of incredibly computer-enhanced action movies, is that there's something profoundly analog and real and gritty about the film and the sexiness of these beasts, the cars, their engines, the danger. These characters are riding in a thin aluminum shell at 200 miles an hour around a track. The miracle that's their daring and their survival under these circumstances is something that the film tries to convey. This film is about the epic rivalry between Henry Ford II and Enzo Ferrari and the scrappy team of upstarts that Ford hires to help him in his quest. Both the classic 1966 sports drama "Grand Prix" and Steve McQueen’s 1971 film "Le Mans" served as references. It's about characters striving for excellence, trying to push against the onset of corporate market-tested group-think. It’s an essential struggle in 'The 21st Century' in our country, the risk-taking and daring and leaps of instinct that are required to invent a lot of the things that define our country are things that we’re almost too frightened to do anymore. The film creates a naturalistic portrait of what life is like for Shelby and Miles. In a modern era when 'CG' spectacle has come to define many blockbuster films, it's critical to take a grounded approach to the action in "Le Mans ‘66" to both more accurately depict the 1960s and to help the audience understand what these drivers experienced as they're pushing themselves, and their cars, to the limit. This isn’t Carroll Shelby’s whole story or Ken Miles’ whole story. This is about a hugely defining moment in their lives that shaped all they're to be. People really connect with this idea of trying to do an excellent job at whatever your job is with the challenge of dealing with oversight and corporate management and the corporate tendency to round every corner that’s a little sharp and to soften any blow that could offend somebody. We all miss the world when it's just a little more raw and prone to taking a risk. The reason the story is so legendary is because these misfits challenged God and won, didn’t they? God was Ferrari. He was a monster, a Goliath of reputation and style, legendary in the racing community. And this little band of misfits, with Ford’s backing but in spite of Ford’s interference, they did it. This is an incredibly compelling film because it’s about the behind-the-scenes conflicts and choices of passionate, competitive, driven, larger-than-life people caught in the very moment the American landscape is changing from the optimism of the post war 1950s and early 1960s to the more cynical late 1960s and ’70s. The visual inspiration comes more from the films of the ’60s and ’70s, rather than contemporary interpretations of race car films, no exaggerated movement, keeping it intimate with the use of close-ups and always maintaining a character’s point-of-view. The film sticks to camera techniques of the period. The production design follows suit and is much in sync with realism and plausibility and keeping the audience in the magic trick of this world that has been created. You’re both hearing and seeing the bolts rattling in the chassis of the car. You’re feeling the vibration of the engine. You’re understanding how hard they’re pushing this vehicle and how close to exploding it's. Today, we've computer-aided design. We can postulate with much greater accuracy what’s going to work. There was no way with a pencil and an abacus you could know that. You just had to build the car and drive the car and see if it just blew up around you. It’s a big, emotional, distinctive theatrical experience that embraces all of the reasons we want to sit in a movie theater. We want to be invested. We want to be moved, to cry to laugh, to be inspired. This movie is all of that.
