Gran Turismo
**This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the movies being covered here wouldn’t exist.
A lot of fathers are like my own. They come from a more pragmatic, grounded place when it comes to what they want for their children. They see dreams and aspirations as counter to a good living. It’s not that they don’t want what’s best for us; it’s just that they don’t see having your head in the clouds as how you achieve that. Jann Mardenborough’s father, played by Djimon Hounsou, is like that in “Gran Turismo,” inspired by the improbable true story of how a player of PlayStation’s acclaimed racing simulator got his shot as a real-life race car driver.
I’ve written often about how the underdog sports movie is my kryptonite as a moviewatcher. Even if the story is below average, chances are I’ll still engage with it if there’s something I can connect with in the movie, even if it’s simply the manner of the underdog aspect. One of my favorite guilty pleasures in the genre is Hal Needham’s “Rad,” a BMX “Rocky” from 1986. Removed from the nostalgia I had for it as a kid, its not a great example of the genre, in part because it doesn’t really nail down the conflicts and the “mentor” for Cru Jones. Neill Blomkamp’s “Gran Turismo” reminded me a lot of “Rad” in how it approaches the genre, and that’s not necessarily a good thing, but there’s enough that’s really good in this film’s approach to the genre that I can get behind it.
Jann Mardenborough (Archie Madekwe) is a gamer in the UK from a working class family. His father, Hounsou’s character, used to play soccer professionally, and is wanting to see his sons follow in his footsteps. Jann, however, is fixated on being a professional racer; his favorite game is Gran Turismo, which allows its users an almost realistic opportunity to race cars. One day, a marketing director at Nissan (Danny Moore, played by Orlando Bloom) pitches his bosses on a unique opportunity- create a contest that allows the best Turismo racers in the world an opportunity to actually race professionally. This is Jann’s dream manifested, but even if he qualifies, will he truly have what it takes to compete against the best in the world? Given this is inspired by a true story, you probably already know the answer.
The film takes its time going through the typical “my father doesn’t support me” beats before Jann is facing off against other drivers, as well as a former driver whom will be the mentor of the story (Jack Salter, played by David Harbour). Once it does, though, and the action hits the track, Blomkamp engages us fully, and we go along for the ride. Part of the reason this film reminds me of “Rad” is because it’s approaching a lot of the same ideas, but from a different perspective. This time, the corporate dealers whom are allowing the amateur to race are on the same side, but don’t have the same passion- Jann and the others want to race for the love of racing, Danny just sees a great marketing opportunity, and is looking at the optics of it all. The familial tensions are stronger- we can tell Jann’s dad simply wants to protect him, and teach him that being practical in life is not bad- but they also dissipate; at least they don’t feel as conveniently resolved as in “Rad.” Once Jann and Jack connect, however, the film kicks it up a gear. Jack knows that thrill, but doesn’t believe any of these gamers can learn the skill and discipline. And even when Jann gets his chance, there are times when we doubt if he can put it together. But Harbour and Madekwe make a great team, and we believe how these two meet each other in the middle.
I really like how Blomkamp and his cinematographer, Jacques Jouffret, visualize the racing. It’s not quite as visceral as we have gotten in films like “Days of Thunder” or Ron Howard’s “Rush,” but it captures what it feels like for Jann when he’s in the game, and then, when he’s translating those skills to the track. The film goes to some very predictable places, but I couldn’t help but be with it while it did, especially when tragedy strikes, and Jann understands how the real thing is different from the game. It’s one of the most emotional moments of the film, and propels us into a third act where all three main characters are challenged, and forced to relinquish some control, in order to make things work out. Of course they do, but like other films in this genre, it gets me every. Single. Time.
