The stakes are almost embarrassingly simple: A man needs to win a race. F1 is a loud sports epic that thrusts the viewer into the high-octane, technocratic world of Formula One racing. These competitions are decided by complex car engineering and tactical pit stops; individual drivers are only as important as the car companies they work for. The film’s director, Joseph Kosinski, best known for the box-office sensation Top Gun: Maverick, accounts for this system’s intricacies by stripping the plot of any complications. Instead, in collaboration with Formula One’s regulating body, he creates a straightforward underdog tale, made compelling by its fidelity to the world’s fastest races.
赌注几乎很简单：一个男人需要赢得比赛。F1是一首大声的运动史诗，它将观众推向一级方程式赛车的高辛烷值，技术官僚世界。这些比赛是由复杂的汽车工程和战术坑停止决定的。个人驾驶员只与他们工作的汽车公司一样重要。这部电影的导演约瑟夫·科辛斯基（Joseph Kosinski）以票房的轰动枪：小牛（Maverick）而闻名，他通过剥夺了任何复杂性的情节来解释该系统的复杂性。取而代之的是，他与一级方程式的监管机构合作，创造了一个简单的弱者故事，这是因为它忠于世界上最快的种族而引人注目。
Brad Pitt plays Sonny Hayes, an over-the-hill, salt-of-the-earth gearhead who washed out of Formula 1 decades ago and has since taken on any racing challenge that he can. (He even drives a New York City cab at one point.) He returns to the sport when another former competitor, Ruben Cervantes (played by Javier Bardem), recruits Sonny to bolster the flailing, upstart team that Cervantes now owns. If his crew doesn’t win at least one race this season, the governing board can fire Cervantes, so Sonny joins up for one last rodeo.
布拉德·皮特（Brad Pitt）扮演桑尼·海斯（Sonny Hayes），这是一辆高往返的盐齿轮头，几十年前从一级方程式赛车中洗净了一级方程式赛车，此后就接受了任何赛车挑战。（他甚至在某一时刻开着纽约市出租车。）当另一位前竞争对手Ruben Cervantes（由Javier Bardem扮演）招募Sonny来加强塞万提斯现在拥有的蓬松的Upstart Team时，他回到了这项运动。如果他的船员在本赛季至少没有赢得一场比赛，那么理事会可以解雇塞瓦特斯，所以桑尼加入了最后一个牛仔竞技表演。
In real life, Formula One is defined by the companies (known as “constructors”) that sink seemingly unlimited resources into getting to the top year after year—well-known brands such as Ferrari and Mercedes. F1 sticks them in the background (alongside actual racers such as Lewis Hamilton and Max Verstappen) while focusing on the fictional crew run by Cervantes, called APX. “I wanted to tell the story of the team at the bottom,” Kosinski told me. And rather than villainize any particular corporation—as James Mangold did in his period piece Ford v Ferrari—the director said that he was more intrigued by a quirk of Formula One, where constructors have multiple drivers in the field for each race. The big competition, then, is an internal one.
在现实生活中，一级方程式赛车是由公司（称为“构造师”）的公司定义的，这些公司似乎无限的资源进入了年复一年的头号 - 法拉利和梅赛德斯等知名品牌。F1将它们粘在背景中（与刘易斯·汉密尔顿（Lewis Hamilton）和马克斯·维斯塔彭（Max Verstappen）等实际赛车手一起使用），同时着重于塞万提斯（Cervantes）经营的虚构船员，称为APX。“我想在底部讲这个团队的故事，”科辛斯基告诉我。主任说，与其对任何特定公司的竞争（詹姆斯·曼格（James Mangold）在福特诉法拉利（Ford v Ferrari）中的作品中所做的事情）表示，他说，他对一级方程式赛车的怪癖更加感兴趣，那里的建筑商在每个比赛中都有多个驾驶员。那么，大型竞争是一场内部比赛。
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That means Sonny’s biggest obstacle isn’t trying to overcome a champion such as Hamilton (who is listed as a producer on the film). His struggle is learning to work alongside one of his younger peers, Joshua Pearce (Damson Idris). “This notion of your teammate being your enemy, to me, that’s great for drama,” Kosinski told me, defining it as “that meta thing of a veteran and a rookie.” Whereas in Top Gun: Maverick, he explained, he was exploring a father-son dynamic, in F1, he sought to examine the relationship between two rivals.
这意味着Sonny的最大障碍并不是试图克服汉密尔顿（Hamilton）（被列为电影制片人）等冠军。他的斗争是学会与他的年轻同龄人约书亚·皮尔斯（Damson Idris）一起工作。科辛斯基告诉我：“对我来说，这是你的队友成为你的敌人的想法，这对戏剧来说是很棒的。”他解释说，在顶级枪支：小牛探索了父子动态，F1中试图检查两个竞争对手之间的关系。
This clever conflict helps the film upend the usual, dull stakes that have befouled so many works of its ilk in the past. The most successful racing movies of late have leaned more artistic than mainstream, while more extravagant attempts have failed either commercially or critically. F1 doesn’t quite slot into either category; it’s more of a long-shot sports saga with the peaks and valleys of joy and despair that come with it. (Think Hoosiers or Rocky, except with scenes set in Monaco and Abu Dhabi.) It’s familiar, but pleasantly so.
这场巧妙的冲突有助于这部电影颠覆了过去曾经造成了许多伊尔克作品的通常，沉闷的赌注。最近，最成功的赛车电影比主流更具艺术性，而更多的奢侈尝试在商业或批判性地失败了。F1并不完全属于任何一个类别；它更像是一个长期的运动传奇，随之而来的是欢乐和绝望的山峰和山谷。（想想Hoosiers或Rocky，除了在摩纳哥和阿布扎比设置的场景外。）这很熟悉，但很愉快。
The film still manages to dig into the peculiarities of Formula One within its big, meaty character study. The sport is well suited for that type of intimate storytelling. “I can’t think of another sport like that, where the sport is literally engineered to create that internal team conflict,” Kosinski said. “That sense of internal competition brings the best and worst out of people.” The director discovered Formula One by watching the popular documentary series Formula 1: Drive to Survive, which brought greater visibility to the sport. He recalled how the first season focused on the last-place finishers, not the top ones: “What’s it like to be the team that goes and knows they’re going to lose every weekend?”
这部电影仍然设法在其大型肉味的研究中挖掘了一级方程式的特殊性。这项运动非常适合这种亲密的讲故事。科辛斯基说：“我想不出这样的另一项运动，这项运动实际上是为造成内部团队冲突而设计的。”“这种内部竞争的感觉使人们最好和最糟糕。”导演通过观看流行的纪录片系列Formula 1：生存，发现了一级方程式赛车，这为这项运动带来了更大的知名度。他回忆起第一个赛季的重点是最后一名的成绩，而不是最高的赛季：“成为一个并且知道他们每个周末都会输的球队是什么感觉？”
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Questions like this one seem to undergird much of Kosinski’s work. The director has long struck me as something of an under-sung auteur of big-budget features; he takes on brand-name franchises that are huge, technical challenges (such as his debut feature, Tron: Legacy), injecting humanity wherever possible. Top Gun: Maverick followed a plot befitting a legacy sequel—the growth of Tom Cruise's protagonist into someone older and wiser—but Kosinski made it seem like it was, on a deeper level, about Cruise’s superhuman desire to stay relevant in Hollywood. The director similarly molds F1 around his star’s more reluctant image: Pitt portrays a man of few words who seems nostalgic for simpler times in his industry.
这样的问题似乎是Kosinski的大部分工作。导演长期以来一直让我感到震惊，这是一位大型预算功能的不足之处。他承担了巨大的技术挑战（例如他的首次亮相，Tron：Legacy）的品牌特许经营权，并尽可能地注入人类。Top Gun：Maverick遵循了一个适合遗产续集的情节，这是汤姆·克鲁斯（Tom Cruise）的主角的成长，成为一个年龄较大，更明智的人 - 但科辛斯基（Kosinski）使这似乎在更深层次上，这是关于克鲁斯（Cruise）超人渴望在好莱坞保持相关性的超人愿望。导演同样地围绕着他的明星更不情愿的形象塑造F1：皮特（Pitt）描绘了一个有很少单词的人，他们似乎怀旧，对他的行业更简单。
The specifics of Formula One border on arcane, and Kosinski gleefully plunges the viewer into all of its minutiae: the balance between aerodynamics and engine power in building the cars; the strategies behind taking a pit stop or passing another driver. Sonny is the viewer’s tether to reality; he’s happy to practice his steering-wheel grip using a common object—tennis balls—instead of an expensive contraption. (Joshua, meanwhile, employs a more intricate workout device.) Kosinski wanted to accurately depict the sport without losing viewers who are unfamiliar with or even intimidated by it. “It’s not just about people going around in circles,” he told me, pushing back against the mainstream image of Formula One as a bunch of rocket cars zooming around a track. “It really is chess at 200 miles an hour.”
一级方程式边界在奥术上的细节，而科辛斯基则将观众陷入其所有细节：空气动力学和发动机力量之间的平衡；停下进站或通过另一个驾驶员的策略。桑尼是观众对现实的束缚。他很高兴使用一个共同的物体（Tennis Balls）练习转向轮握，而不是昂贵的装置。（与此同时，约书亚采用了一种更复杂的锻炼装置。）Kosinski希望准确地描绘这项运动，而不会失去对此不熟悉甚至吓倒的观众。他告诉我：“这不仅是关于圈子四处走动的，”向后推向一级方程式赛车的主流形象，因为一堆火箭汽车在赛道上放大。“这确实是每小时200英里的国际象棋。”
F1 succeeds when it emphasizes that side of the sport, and as long as you can accept the well-trod beats of its plot. Pitt is there to glower and exude experience, and Idris brims with youthful, charismatic arrogance. Kosinski handles the racing scenes with the mechanical prowess he showed off in Top Gun: Maverick, mounting cameras to cars and highlighting their velocity in surprising ways. Sonny’s quest to prove his doubters wrong resembles the arc of many a sports drama. But Kosinski elevates that journey by capturing racing in all of its gorgeous, peculiar glory—there’s never been a portrait of Formula One quite like it.
F1在强调这项运动的一面时就成功了，只要您可以接受其情节的良好节拍。皮特（Pitt）在那里充满活力和散发经验，而伊德里斯（Idris）充满了年轻，具有超凡魅力的傲慢。科辛斯基（Kosinski）用他在顶部枪中展示的机械能力来处理赛车场景：小牛，将摄像头安装到汽车上，并以令人惊讶的方式突出了它们的速度。桑尼（Sonny）寻求证明他的怀疑者的错误类似于许多体育戏剧的弧线。但是Kosinski通过在其所有华丽，奇特的荣耀中捕捉赛车来提升这一旅程 - 从来都不是一级方程式赛车的肖像。
