An even more significant compromise came before the finish line at Le Mans. This time the compromise was a real ideographic compromise, slowing down, slowing down, handing over control of the speed.

There must have been many very different interpretations of this final decision, and Ding Cheng prefers to settle it on a conversation between a previous character and his son.

A few compromises may have been a choice made to save his chance as a racing driver, a helplessness to endure humiliation under idealism, but perhaps for him, it is more transparency and relief after understanding the meaning of speed.

After breaking personal records again and again, and pushing the car in his hand to the physical limit again and again, he has broadened the boundaries of his speed. For him, the track is not a straight line to the end, the real race track is a never-ending process lap after lap.

So you don't need to win, you just need to hold the opportunity at the wheel, because it won't stop after that!

Looking back at the script, this is perhaps the most different thing from other genre films. Don't care about the result, only the process.

While it may seem like just chicken soup to comfort the underdog, it's the right guide to action for the truly pure contender. Perhaps the argument of the competitor is not accurate here, because in the final driving there was no other opponent but him, driving alone in the wilderness towards a fire.

I have to say that as a movie adapted from real people and real events, the script has been adapted to the maximum extent within the framework of reality. From the difference between reality and movies, you may be able to see the focus of the creators' expression.

In reality, not only did Enzo Ferrari not greet Ken at the end of the race, he didn't even show up at Le Mans in '66.

And Ford, in fact, did not set up many obstacles for Ken, and sent Ken to fight at Le Mans in 65. The shaping of these two companies out of reality, on the one hand, is full of plots, and on the other hand, it may be that the creators themselves stand in line, standing in the perspective of the so-called purists to criticize the impurity of the industry monopolist.

Compared with the previous two works, whether it is the shocking of the Washington Post or the lonely progress of Blackwater......

There is a huge gap between fiction and the real world, and creators are also holding limited information and old TV images, filling in the gaps in the story with their own attitudes and interpretations.

In addition to the fun of character creation and a slightly subversive interpretation of the genre narrative, another highlight of Speed King as a sports movie and biopic is the presentation of the character's family.

In the race driver's quest for perfection, loved ones are no longer an obstacle to the worries of the TV, but rather stand on the opposite side of stereotypes, detached from functional roles.

His wife is an absolutely worthy soulmate, will drive the car faster than him, and will sit aside with a garden chair open and a magazine when she sees two older boys fighting.

The son is Ken's biggest admirer, but he will also show his incomprehension and disappointment when his father makes compromises, and finally truly understand the helplessness of men.

You can see the unyielding spirit of the generation of Americans who lived through World War II, and they are the real engine that makes this country great.

Whether it's the two protagonists or the Ford boss, they always mention the experience of World War II. That is the most important test that their generation has experienced in their lives, and after passing the exam, they are men who stand up to the sky, and nothing can stop them.

The United States was the biggest winner of World War II, while Italy was the defeated country in World War II, and it was the weakest defeated country. The plot crisis events are one after another, but they are diluted, and it really needs to be accompanied by a cliché ending to celebrate victory......

This film is a waste!

Usually movies like to deal with the above plot as the last difficulty that the protagonist needs to overcome, and the cliché ending is that the protagonist insists on himself and wins the game, and finally the big boss is impressed by his courage and the applause lasts for a long time.

Worse than this cliché is to make the protagonist submit to the obscenity of the big boss, obviously being exploited and oppressed, but also showing a masochistic smile, thanking the boss for the food, and praising the warmth of collectivism provided to him by the big company.

The magic is that the protagonist takes the initiative to release the water and loses the championship trophy that he was originally determined to win, and the company leaders are busy celebrating the crown, so they don't bother to pay attention to him.

Instead, his opponent greeted him from afar, and he smiled back with a tacit smile.

Until this moment, Ford and Ferrari, the director respected and degraded whom, the dust settled.

Who uses cars as a tool to make money?

Who is the person who really loves cars and understands cars?

The answer is finally clear, and the anti-bones hidden under the skin of the main theme give the ending more room to play.

The charisma of these characters comes largely from rebellion, that is, disobedience.

In a sense, human history is driven by disobedience, the Renaissance, the Reformation, the Industrial Revolution, and the fact that people are no longer subordinate to gods, emperors, and popes, but to human reason.

In contemporary commercial society, the object of obedience is actually to become a large company, and this obedience is no longer the coercion of self-whipping, but is internalized into the operating norms of society.

Considering the melancholy heroism that runs through it, and the racing theme that represents the spirit of human exploration, Ding Cheng is more inclined to feel that entrepreneurship in today's society is far more difficult than in the 60s!

Because big business is far bigger than it was in the sixties...... Humans no longer go to the moon...... The hierarchy is more entrenched than in the sixties...... The best minds have gone to do ad recommendation algorithms......

Even if you still feel like you can't disobey your superiors and tell the truth, it's really cool to insist on being rebellious, asserting yourself, and doing your best to face the future.

Rebellion is the prerogative of heroes, and may the world give more respect and space to rebels.

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