“Hij brak records op de racebaan en overwon obstakels erbuiten”, leest de eerbiedige tekst die in Senna het levensverhaal van de legendarische Formule 1-coureur inluidt. Zo blijkt deze miniserie over winnaarsbloed en heilig asfalt vanaf de eerste seconde heldenverering van de bovenste plank. In zes afleveringen transformeert de (ook naar eigen zeggen) goddelijk getalenteerde Braziliaan van een durfal in een kartauto tot een volksheld in een racebolide. De makers kleuren daarbij zo keurig tussen de lijntjes dat zelfs Senna’s tragische levenseinde zijn dramatische impact verliest.
Voor de verstokte Formule 1-liefhebbers zal zijn aanwezigheid vooral afleiden, maar het is ergens ook wel amusant dat Keanu Reeves in Brawn: The Impossible Formula 1 Story als gastheer fungeert. Als een kind in de snoepwinkel hangt de actiester in deze documentaire over gelegenheidsteam Brawn GP (opgericht én opgedoekt rond raceseizoen 2009) aan de lippen van (voormalige) teambazen en racecoureurs. De medewerking van deze hoofdrolspelers en de ruime beschikbaarheid van archiefmateriaal maken het resultaat veelzijdig en voldoende onderhoudend.
Senna is a 2010 documentary film, directed by Asif Kapadia, that portrays the public and personal life and the tragic death of Formula 1-racer Ayrton Senna (1960-1994). Despite receiving general critical acclaim of journalists worldwide[1], Formula 1-racer Alain Prost (1955), former team member and eventual life-long rival of Senna, explicitly renounced the way in which he was represented in the film. This paper discusses Prost’s major arguments for this renunciation in the light of the two existing versions of the film and their differences in terms of content and montage. I argue that the award-winning[2] montage of the regular, theatrical cut establishes a paradoxical relation between the film’s purportedly independent quality as an artwork and the external objections of its accuser: while the film’s critical acclaim is partly the result of the refined montage, the montage is also precisely what has made the film controversial.
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