If there is a principle that has been guiding western culture for the past few decades, it might be summarised simply as: “Out with the old”.
In a very short space of time we have seen societal norms regarding marriage, the differences between the sexes, and even the definitions of the sexes, being thrown out the window to make way for new and less “outdated” ideas. But is the new always better, and can anything learned from the old? In a surprising turn, the recent Brad Pitt feature “F1” might just have an answer.
Going to see the film (admittedly somewhat late in its theatrical release), I expected a simple enough story about a driver struggling through the grinds of training to win the Formula 1 Grand Prix. Instead, what I found was a fast-paced but surprisingly meditative story on the differences between the generations, and the conflict of the old and the new.
The film revolves around veteran racer Sonny Hayes (played by Pitt), who retired from Formula 1 after a serious accident 30 years before, but who is pulled out of obscurity by an old friend to race for his new team, led by a cocky and self-confident young driver. As the story progresses, the younger man must learn to develop patience and to take advice from his elders, while Hayes must overcome his many past mistakes and adapt to work as a team with the new generation.
While it is primarily intended as a high-octane action movie, “F1” still has some interesting things to say about generational conflict. In the first place, it reminds us that the old is not always outdated; throughout the story the new driver is shown up by Hayes’ superior strategies, even though they come from the analogue rather than the digital age. However, perhaps more interesting are the real-life lessons to be learned from the film’s success.
To begin with, the story is entirely original. It takes a mere cursory glance at the box office winners of every month to realise that the film industry is drowning in sequels, reboots, or spinoffs of previously established concepts and characters. For a major studio like Apple to risk a budget rumoured to be close to $300 million is something of a peculiarity, but also a return to the classic age of filmmaking, when most of the high-budget productions would be original stories. In an industry dominated by remakes and franchises, it is refreshing to see an original idea flourish, and earn Pitt the greatest box office success of his career (apart from “Deadpool 2”, in which he appeared for mere seconds).
The film has also done something to reintroduce its lead to a new generation. Brad Pitt is a well-known name in most Gen X and millennial circles, but has not done much in recent years to make him relevant to the young today. Interestingly, his character is written in such a way as to show many parallels with the actor who performs the role. Hayes is a respected veteran, but past his prime, and while he still has his skills, he is not given the kinds of opportunities he used to receive. While Pitt is not irrelevant or unknown in modern culture, he has certainly not had nearly as much attention from studios or viewers as he had in his heyday. In a way, Pitt is a man of an older time, but one who has proved through the success of this film – and the star-quality of his performance – that he is not outdated.
The story is ultimately bolstered by its firm and sound moral ideas of respect for the old, and patience in the young. All of this only enhances the effect of the jaw-dropping spectacle presented throughout. The film is helmed by Joseph Kosinski, the director of 2022’s smash hit “Top Gun: Maverick”. Perhaps unsurprisingly, “F1” mirrors that film in many ways, telling a story about the conflict between an older and somewhat unruly man (played by a veteran actor), and a highly-talented but arrogant youth.
The old, while perhaps slower or somewhat impaired, is also often strong and time-tested. What “F1” shows is that while the new is not always superior, nor necessarily is the old; instead, it shows that there is a balance to be struck. The new must listen to and consider the advice and experience of the old, while the old must make space for the exploration and verve of the new. The creators of “F1” may or may not have intended their movie to serve as a sort of societal parable, but that is when they have achieved.
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Patrick Vincent writes from Dublin