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Grand Prix (1966)

 -  Drama | Sport  -  21 December 1966 (USA)
7.1
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Ratings: 7.1/10 from 5,009 users  
Reviews: 100 user | 35 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 »

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(screen story), (screenplay), 2 more credits »
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Title: Grand Prix (1966)

Grand Prix (1966) on IMDb 7.1/10

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Won 3 Oscars. Another 4 nominations. See more awards »

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Cast

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

Storyline

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 <g0mb@unb.ca>

Plot Summary | Plot Synopsis

Genres:

Drama | Sport

Certificate:

Approved | See all certifications »
Edit

Details

Country:

Release Date:

21 December 1966 (USA)  »

Also Known As:

A nagy verseny  »

Filming Locations:

 »

Box Office

Budget:

$9,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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

Color:

(Metrocolor)

Aspect Ratio:

2.20 : 1
See  »
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Did You Know?

Trivia

Crowds can be difficult to manage simply because of the effort needed to maintain their concentration. During the filming of Grand Prix (1966) there was a scene where a flaming car is driven into the pits. It was about 4 o'clock in the afternoon and the director, John Frankenheimer, was disgusted by the crowd's lack of reaction to the dramatic action during the rehearsals. They appeared to be more interested in their tea break. Frankenheimer called his special effects man over and told him to 'blow up the tea van' when given the signal. The unit went for a take. The flaming sports car came into the pits. The crowd looked on. The signal was given and the tea truck exploded. The crowd reacted and Frankenheimer got his shot' This is an extreme example of how to direct crowds. (from "Production Management for Film and Video" by Richard Gates) See more »

Goofs

After Jean Pierre crashes he is helped out of his car. He pulls his goggles part way down as they are now just under his lip and covering his chin. The view then cuts to a close-up of Jean Pierre's face and the goggles are not over his face any more. See more »

Quotes

Agostini Manetta: The question is, Jean-Pierre, what are you doing to do about it?
Jean-Pierre Sarti: Do? I don't understand.
Agostini Manetta: The time for losing comes to every man, of course. I had not expected yours to come so soon.
Jean-Pierre Sarti: There have been problems with the car!
Agostini Manetta: Come, come, Sarti. I expect excuses like that from lesser men than you. You have been one of the best that ever lived, there is no question of that in my mind. Never a wrong move, concentration always there, 100 percent, till this woman.
Jean-Pierre Sarti: You have been misled, Sr. Manetta. Do ...
[...]
See more »

Connections

Featured in Grand Prix: Challenge of the Champions (1966) See more »

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User Reviews

A Technically Superb Film
12 April 2000 | by (La Crosse, WI, USA) – 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.


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