By contrast, Hemsworth's Hunt is little more than a gifted good-time boy who isn't worried about his lack of substance. Unexpectedly, Bruhl's Lauda emerges as the stronger character, with his grounded approach and sardonic wit allowing Bruhl to play effectively with submerged emotions. Morgan's script is essentially two biopics cleverly woven together to let us see the push and pull between these two iconic figures. And their rivalry comes to a head at the 1976 German Grand Prix when world champion Lauda is involved in a horrific, fiery accident. Over the years, both meet their wives (Wilde and Lara, respectively) and move from team to team as they rise to the top of their sport. They clearly see things they like in each other, so their different approaches on the track develop into a competitive relationship that spurs them to the front of the pack. By contrast, Austria's Niki Lauda (Bruhl) is a fiercely detailed technician who loves pushing barriers.
Britain's James Hunt (Hemsworth) is a swaggering womaniser, revelling in the rock-star lifestyle.
#Alexandra maria lara drivers
The story begins in the early 1970s, when two rising-star F1 drivers clash over their very different styles. And Scott Thomas adds further texture as the harsh madame who reveals her own unexpected shadings. Each of them is a bundle of contradictions, remaining sympathetic even when they make bad decisions. Both Lucille and Bruno are intelligent young people aware that they're in the wrong place at the wrong time, so it's hardly surprising that they are drawn to each other, and Williams and Schoenaerts spark vivid chemistry that never boils over into forbidden-love melodrama.
But the film rises above the genre in the characters, who are never allowed to become the usual stereotypes. But things get more complicated when Lucille and the madame begin to help a neighbour (Sam Riley) who crosses the Germans and needs to be hidden from view.ĭirector Saul Dibb (The Duchess) shoots this in a fairly straightforward costume-drama style, with sun-dappled cinematography and lavish settings. As he composes music on Lucille's piano, she reaches out to him in friendship, surprised to find a spark of attraction.
Initially a horrific presence, Bruno turns out to be a soulful young man who misses his family. Then the Germans arrive to occupy the town, and officer Bruno (Matthias Schoenaerts) is billeted in their house. Since her husband is missing in action at the front, Lucille is feeling trapped in her life with the madame, who cruelly increases her poor-farmer tenants' rent even during these hard times. She plays Lucille, who in 1940 is living in the French country town of Bussy with her mother-in-law Madame Angellier (Kristin Scott Thomas).
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