Released in the U.K. and other markets under the far better title, Le Mans ’66, Ford v Ferrari is an exhilarating biopic telling of Ford’s attempts to challenge and outdo the beloved cars of genius Enzo Ferrari in the world famous French 24 hour motor marathon.

Seeking the prestige of the Ferrari badge, Henry Ford II (Tracy Letts), is humiliatingly rebuffed in his attempt to buy a controlling interest in the Italian motor manufacturer. In a fit of pique, he orders his executives to create a car that can turn the tables on Ferrari. Retired racing car driver now designer, Carroll Shelby (Matt Damon), is engaged by Ford executive Lee Iacocca (Jon Bernthal) to do just that. Shelby in turn recruits the cantankerously bloody-minded British racing driver Ken Miles (Christian Bale) to put his foot to the floor and hopefully secure the chequered flag. The project is to be overseen by Ford Senior Vice President Leo Beebe (Josh Lucas).

The film is centred on the dynamic between Shelby and Miles, their awkward relationship and history of confrontation ameliorating as they are both driven, no pun intended, to achieve victory. Their efforts are constantly frustrated by the unhelpful and self-serving Leo Beebe following his own agenda.

Direction from James Mangold (Walk the Line) and cinematography from Phedon Papamichael are both first rate. The racing scenes are truly immersive and you smell the octane. Screenplay from the British pair Jez and John-Henry Butterworth with American Jason Keller, never gets bogged down in technical detail, it simply allows the story to flow, a story so engaging that the running time of two and a half hours never flags; it’s not just for petrol heads. And it says much of Matt Damon’s progression as a film actor that he easily holds his own in his many scenes with Christian Bale. Irish actor Caitriona Balfe as Miles’s wife Mollie provides a strong foil to her husband’s headstrong ways.

Is the film slightly formulaic with stock characters? Maybe so, perhaps. Henry Ford II is shown as a bombastic bully, Leo Beebe an unctuous Uriah Heep-style sycophant. But when all other aspects of a film come together, who cares? Besides, most people love pantomime villains. And whether unwittingly or not, the film shows that maverick genius needs the boring business acumen and the politics inevitably attached to succeed. Both Shelby and particularly Miles are shown as pretty hopeless in their business dealings, neither would’ve got a car anywhere near Le Mans without the bean counters from Ford. The film is also mercifully free of modern day political analogies, concentrating instead on telling its tale without distraction.

I have a feeling this film will become a perennial public holiday favourite.

4.5*