It shows that Ford is not suitable for racing at all, and only thinking about how to control the racer and how to make the racer obey the order is contrary to sportsmanship.

A typical group of amateurs go to command professionals, and they require Ken to not exceed 6,000 rpm, a rule that severely limits Ken's playfulness.

Thankfully, Shelby disobeyed the order and allowed to step on 7,000 rpm to win the championship.

Leo did it again at Le Mans, and was willing to break the lap record, and everyone was happy, including Henry Ford, but Leo was disappointed.

It wasn't even planned to say that you couldn't drive the car that fast.

Seeing that Ken was about to win the championship, Leo even asked him to slow down, and even threatened him to never compete in SCCA and FIA competitions again if he did not obey.

The most insidious thing is that he has long known that if all three cars reach the finish line at the same time, the championship will belong to McLaren, so he deceives Shelby and Ken with things like team spirit.

Many directors like to make movies with the protagonist's side of the hero, make the opponent insidious, cunning, despicable and shameless, and praise themselves by belittling the opponent.

And this work does not praise Ford by belittling Ferrari, on the contrary, Ferrari is a very respectable company in the film, but Ford's top management is selfish, hypocritical, and sophisticated.

When Le Mans announced that the winner was McLaren, everyone went to cheer for McLaren, except for Enzo Ferrari who took his hat off.

In Ding Cheng's view, from the burlesque chase in the silent film era to "Fast and Furious", dforspeed has always been one of the themes that best reflects the characteristics of the motion image of the film.

The plot is full of extreme speed and detailed portrayal of the car-building process, the factory assembly line in Detroit and the workshop in Modena, the foggy track and country roads of Le Mans, the wrench and the steering wheel, acceleration, cornering, crashing and burning......

With a robust narrative and dazzling editing, the director takes the audience into the first perspective behind the windshield, burrowing into the chassis of the car and listening to the roar of the engine.

You don't even need to be a racing enthusiast or know how to drive to get a cinematic experience that is rarely seen in Hollywood today.

This film about confrontation and compromise is not only a confrontation between two drivers on the Le Mans circuit with sparks flying in parallel in two cars, but also a battle of ideas between the two car giants outside the track, the game between the business world and idealism, the opposition between purity and impurity, dignity and compromise.

Because the story is set in the background of the baby boom in the 60s after World War II, the young generation of Americans who pursue novelty and flaunt individuality no longer like the domestic Ford produced on the assembly line, the more crafted sports car brand from the exotic country is cooler, and the Ferrari, which has won consecutive Le Mans endurance races, has become synonymous with speed and adventure.

Dignity is an important issue that keeps coming, and it is very clever to deal with the erosion of dignity as a direct trigger for the war. Hearing competitors laugh at their obesity and the ugliness of the Ford factory, Ford II dismisses it with a playful expression.

But the last irony that challenged dignity made him change his face drastically, and he directly announced that he would go to war against Ferrari at Le Mans that year, and he would beat Ferrari with a sports car built by Ford.

To be precise, the word here is not to defeat, but to bury. Henry Ford II, the second ancestor who inherited the name of the founder's grandfather, Henry Ford, and his lack of confidence in his identity and the weight he carried, were also fully established, making the balance of Ford v Ferrari quietly tilt in the hearts of the audience.

What's even more interesting is that throughout the course of the story, the images of the two companies, Ford and Ferrari, in the title are constantly changing and swinging.

The Ferrari side is portrayed as cunning villains in the opening chapter, as if the eye-catching red sports car in their workshop was just a pointless posturing.

When Le Mans starts, the Ferrari driver is like a silent villain, and every time the old Ferrari man in the stands is angry and the protagonist makes the audience feel comfortable.

In the first and middle sections, Ford II is the opposite, the audience will support his desire for revenge after his dignity is damaged, and in addition to this, he appears to be extremely big-picture and business-minded, and has more respect for the protagonist team.

Crying after a hurricane is one of the funniest passages in the film, and it also makes the car giant seem a little cute. However, this unexpected comedic passage is paving the way for Henry Ford's alienation from speed and driving, and the fact that Ford didn't know anything about racing.

When the end comes, the audience will gradually see that there will never be only one villain who tarnishes the purity of speed, and that all sportsmanship, athletic ethics, and all romantic fantasies about speed are nothing more than promotional materials and marketing rhetoric that will eventually be converted into sales in the business world.

This cooperation has made Ding Cheng and Bell friends who cherish each other, just like the relationship between the two characters, they have no tendency to seize screen time or drama, and some are just relaxed and natural without traces of performance.

Bell completely transformed himself into the leader of the trackside watch, emotionally restrained and delicate. And Ken, who plays himself, has a magical Birmingham accent and handles the transformation of different states of the characters, which once again proves his acting skills and strength.

In the words of the director: No one will not love the Ken created by Ding Cheng......

Even if this character has no reason to please anyone at all!

When the final three Fords cross the finish line, spectators may find themselves deceived: the race is not about victory, it's all about compromise.

Damon compromised on his physical condition and began to take medication absentmindedly after retiring from the ring. And when Ford offered the opportunity to lead the team back to the track, even if he struggled with all his strength, he had to lay down his dignity in the face of capital and power.

Ken seems to be the embodiment of purity and freedom, but there are still financial pressures and family responsibilities before getting into the cabin of the GT40. His first major compromise after becoming a Ford driver came when Ford's hierarchy barred him from attending Le Mans the previous year.

With a fiery temper, he surprisingly didn't walk away, getting under the car in the empty garage, listening to the latest news from his teammates at Le Mans on the radio, while making serious comments.

It's not the drivers who really control the cool cars, it's the sponsors in the stands who really step on the accelerator and brakes, and control the toys they spend a lot of money on.

He couldn't afford to lose this opportunity, so he could only lie in the shadow cast by the sports car and continue to play this wrestling game with no right to speak. 8)