Damon Hill became a Formula 1 driver at a time where a luxurious moustache or bushy brows seemed to be a prerequisite. The cars looked like matchboxes on wheels and the danger levels were inordinately higher than they are today. He won the Formula 1 Drivers Championship, with Williams, in 1996 after spending his previous years in the sport quite literally confronting ghosts from his past.
Directed by Alex Holmes, Hill tells the story of how that Championship victory came to be; from Damon’s early days in motorbike racing to his rivalry with sporting great, Michael Schumacher. But it’s not just about driving cars at 200km per hour, it’s also about his love story, with his steadfast wife, Georgie, and how two deaths, in particular, had a massive impact on his career.
“If your dad is the most famous guy in the room, who are you?” Hill ponders of his late father, Graham, who won two Drivers Championships and was nicknamed ‘Mr. Monaco’ for his success at the illustrious racing track. Graham Hill had a striking profile, a pencil thin moustache and a charismatic presence that the cameras lapped up. His death, when Damon was just 15, spurred the younger Hill into reconsidering his love for motorbikes.
Holmes mixes talking heads – Damon and his wife Georgie appear against a Williams’ blue backdrop – archival footage and home videos. This level of access to the Hill family brings an intimacy and a level of emotion not necessarily associated with the sport itself. It’s clear that family is important as we enjoy the loving dynamic between Damon with both his own father and his children. There’s a nostalgia for the old F1 graphics and racesuits; a warmth in seeing Hill relaxed and at home.
But moments of relaxation are rare when your job literally risks your life. Hill came into F1 late, in his mid-twenties, but quickly found himself colleagues with the likes of Nigel Mansell, Alain Prost and Ayrton Senna. No matter how many times you see the footage of Senna’s fatal crash, it still cuts you to the core. His death, and the death of Graham Hill in a plane crash, impacts the way Damon approaches his F1 career. There’s a beautiful moment, wherein Damon is flying around a track, and Holmes superimposes the image of his father over his visor. This is a young talent who never got to share his podium successes or hear a “Well done!” from the most influential men in his life. It’s incredibly emotional.
Throughout the film, Damon comes across as shy and perhaps even sensitive. He’s not a driver who seeks out the spotlight. Indeed, he is in marked contrast to his competitor (and career rival), Michael Schumacher, who laps up the drivers press conferences. Damon describes the racing great as “imperious” and it’s clear the German driver did his best to get under Hill’s skin. Holmes treats us to archival footage of catty comments, thinly disguised insults and Schumacher’s legendary resting bitch face.
Lorne Balfe’s contribution to the film’s score adds tension and drama to races where you already know the outcome. Despite a promising burst in his early career, Hill soon found himself plagued by reckless crashes, spins off the track and engine fires. Indeed, he missed out on the Drivers Championship in 1995 due to such issues. (This was also a year where there was only one point and one race separating Hill and Schumacher, if you want to get a real idea of how intense their rivalry was.)
But in the depths of defeat came clarity for Hill. He stops “concentrated driving” and leans into the spirit of his father and, of course, Ayrton Senna. His 1996 victory was greeted by rapturous applause and whooping cheers by the Glasgow Film Festival audience. His self-doubt – which Hill acknowledges openly – is what brought him both to the very bottom and the peak of his career. The glorious close ups of his long lashes and laser-focused gaze amidst his dark blue racing helmet are simply stunning.
Hill showcases all of the loss and doubt that plagued Damon’s career, and the love and belief that helped it cross the finish line. It is proof that nice guys don’t finish last.
Hill is screening at the Glasgow Film Festival and will be available through Sky UK & Ireland later this year. Get your tickets here.
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