The actions begins on an early morning with a delicious bit of indirection when a man slips out of bed without waking up a younger woman, while the phone rings another house where another woman makes excuses for his absence. When he comes in, she greets him with a pistol. It is Enzo Ferrari and he has violated a rule by staying overnight with his lover, Lina Lardi. Enzo’s life is marked by death, having lost family members in the World War and his own son to illness. His career is shadowed by traumatic deaths and he continues to hire drivers despite knowing the risks. The crux of the story is business and Enzo’s pursuit of racing victories, even when the company is threatened with bankruptcy. Mann’s attention to detail finds an echo in Enzo’s, making the film a personal statement, rather than just a beautifully executed bio-pic. The film showcases a near-obsession with the material aspect of racing and the physicality of driving anywhere. Driver’s performance as Enzo conveys the turmoil and conflict within him, as well as the struggle to maintain a public face while dealing with private issues.