Grand Prix (1966)

Approved  |   |  Drama, Sport  |  21 December 1966 (USA)
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Ratings: 7.2/10 from 5,645 users  
Reviews: 103 user | 40 critic

American Grand Prix driver Pete Aron is fired by his Jordan-BRM racing team after a crash at Monaco that injures his British teammate, Scott Stoddard. While Stoddard struggles to recover, ... See full summary »



(screen story), (screenplay), 2 more credits »
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Won 3 Oscars. Another 4 nominations. See more awards »



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Cast overview, first billed only:
Louise Frederickson
Jean-Pierre Sarti
Brian Bedford ...
Scott Stoddard
Antonio Sabato ...
Nino Barlini
Françoise Hardy ...
Agostini Manetta
Claude Dauphin ...
Hugo Simon
Enzo Fiermonte ...
Monique Delvaux-Sarti
Jack Watson ...
Jeff Jordan
Donald O'Brien ...
Wallace Bennett (as Donal O'Brien)
Jean Michaud ...
Children's Father


American Grand Prix driver Pete Aron is fired by his Jordan-BRM racing team after a crash at Monaco that injures his British teammate, Scott Stoddard. While Stoddard struggles to recover, Aron begins to drive for the Japanese Yamura team, and becomes romantically involved with Stoddard's estranged wife. Written by Damian Penny <>

Plot Summary | Plot Synopsis


CINERAMA sweeps YOU into a drama of speed and spectacle!


Drama | Sport


Approved | See all certifications »



Release Date:

21 December 1966 (USA)  »

Also Known As:

A nagy verseny  »

Filming Locations:


Box Office


$9,000,000 (estimated)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(Westrex Recording System) (70 mm prints)| (35 mm prints)



Aspect Ratio:

2.20 : 1
See  »

Did You Know?


Jean-Paul Belmondo turned down the role of Nino Barlini. See more »


During the Brands Hatch race, Phil Hill and Yamura are watching the action on track from the pit lane. They face the part of the circuit behind the pit lane. Pete Aron's car has developed a fault and Phil Hill shouts, noticing that Aron's car is leaking fuel. The cars continue around the circuit and come onto the pit-straight. Aron's car is now on fire. Phil Hill now proclaims 'it's on fire!' but he is still in the viewpoint that he was before, meaning that he would've been looking in completely the wrong direction and would not have seen the flaming car from that precise point. See more »


Jean-Pierre Sarti: Did you see them rush to see Peter Aron burn? Did you see the looks on their faces? I saw. For the first time today, I really saw those faces.
Louise Frederickson: But not all of them, Jean-Pierre. There are some who come for that - for the accidents and the fires. But the others... the others ride with you, maybe. You put something in their lives that they can't put there themselves.
See more »


Referenced in Archer: Jeu Monegasque (2011) See more »

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User Reviews

A Technically Superb Film
12 April 2000 | by (United States) – See all my reviews

I won't bore you with the plotline; you can get all that elsewhere. The main reason one should see this film is for the camera effects. And remember too -- these were all done the hard way; there was no computer imaging back in 1966!

If you get the chance to see this in a theater, DO NOT BE LATE!! The opening -- with the driver plugging his ears with cotton before putting on his helmet -- is aptly appropriate. The split-screen and multiple-image effects are first seen in the opening and crop up throughout the movie -- and always to good advantage, not just a "gee whiz, look what we can do" use of technique and technology. ESPN and the other networks, in their NASCAR telecasts, have just now started to adopt techniques first used by Frankenheimer 30-plus years ago.

One of the best scenes in the film is in the early minutes. You are actually *in* the cockpit of a F-1 car as it spins out of control, slides off the track, and launches itself into the harbor. I might add that this was *NOT* done with models, but used real, full-sized cars and took long hours to produce -- and these were truly "state-of-the-art" effects in 1966 (I won't give away the secrets here but will say that if you can locate a copy of the appropriate issue of "Popular Mechanics" [March 1966?] you will enjoy the article about the film and the techniques). The end result was about 15 seconds of some of the best racing footage committed to film. Needless to say, this is a very quick-running sequence!

I saw this picture in Cinerama in 1966, and I too echo the sentiment for a re-release of this picture to the large screen. More is the pity that Cinerama is no more. There are few pictures where Cinerama could be used to its fullest advantage; the in-car and on-track sequences of this film, however, were some of those.

53 of 56 people found this review helpful.  Was this review helpful to you?

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