The Amazing Summer of '55 - Eoin Young

Just recently, I surveyed some of the unread books piled up in a corner of my humble abode.  One which caught my attention was The Amazing Summer of '55, written by the late Eoin Young. This tells the story of the dramatic, tragic and turbulent motor racing season of that year.

The book takes the form of a series of articles, arranged in chronological order, covering the pivotal racing events of 1955. Extensive use is made of quotes from participants and excerpts from diaries, giving many of the episodes a genuine rawness and immediacy. The individual articles are concise and breezy, and they cover not just the "obvious" topics and incidents, but also some more obscure and less-publicized things which occurred during the year in question.

Human interest stories are combined with technical details.  The informality and relative lack of regimentation of the mid-Fifties shines through, although doubtless the "old hands" of that period bemoaned how things were different from previous times.

This was an intriguing epoch, not just in motor racing but in the wider world. The remnants of the "pre-war" world were increasingly in collision with elements of modernity such as technological progress, scientific advances and social change. The stories concerning Ruth Ellis and James Dean help to illustrate and emphasize the latter.

The epic and momentous nature of the Mille Miglia never ceases to impress and captivate, and it is accorded due prominence here. There are some evocative quotes and passages, and amusing anecdotes.

A strong quality of this book is how it covers the broad canvas of motorsport, not just the Grands Prix, but also sportscar racing in all its facets, and also the Indianapolis 500. One can get a real flavour of the culture of racing back then, and the attitudes and motivations of the people involved.

Of course, the disaster at Le Mans in 1955 figures strongly in this work, and the horror is powerfully evoked. Some interesting material is featured relating to the aftermath, the ramifications and the investigations, especially on the response of Mercedes to the tragedy.  These sections, and also the chapter examining the Tourist Trophy race at Dundrod, highlight perhaps most acutely the differences between now and then.

I worked my way through this book through it very quickly, which is generally a good sign. It is the kind of book which prompts the reader to seek out additional information about some of the topics covered.  A lively and enjoyable read.

Rush (2013 movie) - DVD review

First of all, a confession. I did not see Ron Howard's  "Rush" when it was released in the cinemas. I fully intended to, but my September diary ended up being rather preoccupied with more pressing concerns. The movie's DVD release enabled me to catch up, and to commit these thoughts in blog form...

As a confirmed devotee of 1970s Formula 1, and something of an anorak on the subject, I resolved to put aside my reservations about the historical accuracy of the movie, and appraise it on its quality in artistic and technical terms. So within these parameters, what of "Rush"?

In short, the movie follows the fortunes of 1970s Grand Prix drivers James Hunt and Niki Lauda, concentrating on their duel for the 1976 world title. What struck me about the film straight away was the almost semi-documentary flavour to it. The opening scene, set at the Nurburgring, serves as good exposition. This is accompanied by some rather hackneyed pseudo-philosophizing, of the type which has been obligatory in all racing movies since time immemorial.

As expected, the production values are high, although the computer-assisted trickery does not obscure the story-telling. Indeed, the racing scenes, although dramatic and at times striking, were almost incidental to me. I was much more interested in the exploration of the human dimensions of the tale, which after the shaky beginning are told in quite a refreshing and unpretentious way.

Clips and previews had conditioned my expectations regarding the performances of the main actors. Daniel Bruhl is indeed excellent as Lauda, and becomes more convincing as the story unfolds, really coming into his own after the Nurburgring 1976 accident.  Lauda's allegedly prickly and abrasive nature is played up for all it is worth, as is the playboy, non-conformist image of Hunt. Chris Hemsworth's performance as the latter came as a pleasant surprise, and he also manages to capture some of James' more laconic side.

The supposed eccentricities and foibles of every character, including team personnel, are magnified and accentuated, and it seems that the producers felt the need to pack in every known and recorded anecdote and incident involving the two men. Whilst watching, I almost felt the silent presence of a researcher ticking boxes on a "checklist" of items to include in the script. So yes, the "chapters" and content are composites of various things which did occur, many in different contexts and timescales, compressed for dramatic effect. What this all shows is that regardless of how things are presented, Hunt and Lauda, and indeed the era which they lived in, are simply splendid "raw material" for film-makers.

The Hunt-Lauda relationship depicted here is at variance with the generally accepted version, but as the narrative moves on, the dialogue becomes more incisive and cerebral, and feels less forced. The scenes sometimes feel short and staccato, but this is often the case with "biopics", where lots of information has to be included in different settings within a specified time.

The film manages to capture an appealing 1970s European/transatlantic aesthetic, invoking the music, fashions and social trends of the time, but not to excess. The more informal, less regimented atmosphere is well projected, even if the recreations of haircuts and clothes are not always totally on the mark....

I found the action sequences a mixed bag.  Exciting yes, but often looking a little contrived and clinical, even if a 1970s Grand Prix is always a fine sight to behold. The greatest impact is attained via the arty "in helmet" shots and those of suspension parts, tyres and steering wheels. They help to get across the sheer primal mechanical vigour of those cars.

"Rush" moves up a notch or two with the run-up to the 1976 season. The pace quickens, and things become more intense.  This really kicks in with the demise of the Hesketh team, and Hunt's anguish and uncertainty before the McLaren drive becomes available. The 1976 race scenes make good use of the camerawork and effects, helping to capture and encapsulate the pressures and the claustrophobia, as well as the gladiatorial nature of the sport.

The centerpiece of the movie, unsurprisingly, is the '76 German Grand Prix and its aftermath. An ominous and dark atmosphere of foreboding is skilfully created.  The Lauda crash is harrowingly but effectively done, evoking its true horror. The hospital sequences are moving without being mawkish, and are cleverly interspersed with clips of the F1 season continuing to progress in the Austrian's absence.  Daniel Bruhl truly shines in this phase, ably portraying the character's bravery and single-mindedness. One somewhat jarring note is struck by the scene at Monza involving Hunt and an intrusive journalist.

Needless to day, the season finale at Fuji is given the full treatment. Although drenched with CGI, the drama, emotion and confusion are recorded with some clarity.

Overall, I think that "Rush", while being glossy and "Hollywood" up to a point, also brings out the then still grimy world  of racing, that of the nuts and bolts and the oily rags. On its own terms, good quality entertainment, if hardly a cinematic masterpiece. In the end, much of the rumination and verbal sparring between James and Niki is solid and soundly judged. The final main scene, set in Bologna, is a good way to go out - dignified and reflective.

Turbo times

Only weeks now remain before the new Grand Prix season commences in Melbourne, Australia, and the teams are going through the familiar rituals of unveiling their new cars, to be followed by testing. This year there is even more interest and conjecture than usual, as the engine regulations are undergoing a transformation. Normally aspirated V8s are out, to be replaced by 1.6 litre V6 turbo units.  All this talk of turbos reminds me of F1's previous experience with this form of forced induction motor, from 1977 to 1988.

I first became really interested in racing just as the turbos were beginning to make their presence felt. This was in 1981, when only Ferrari,Renault and Toleman were turbocharged, the French company having pioneered the "innovation" as far back as 1977. I remember that they were still regarded very much as a curiosity, and the Renaults in particular were plagued with poor reliability, although when they kept running long enough they demonstrated that they were the future.  The only question was precisely when that "future" would arrive, and when they would fully supplant the venerable Cosworth DFV.

The 1982 season was very much a transitional one in terms of the balance of power between engine philosophies. Ferrari in particular were slowly mastering reliability and driveability issues, and if Didier Pironi had not suffered grievous injuries at Hockenheim, it is probable that he would have become the first driver to win the title in a turbocharged car. In the event, the driver's championship was once again decided between men driving "atmo"-propelled vehicles.

By 1983, the pendulum had tilted decisively, and the spoils at most races were divided up between Ferrari, Renault and Brabham.  Even now, though, a Cosworth-powered car piloted by a particularly brave driver, on a circuit or in conditions which suited the unit's characteristics, could still prevail. Examples of this were Keke Rosberg at Monaco and John Watson at Long Beach. By this stage, however, even the Williams and McLaren teams had seen the writing on the wall, and had turbo projects in the pipeline.  I recall 1983 as the first real "turbo season", and it kind of passed me by, probably because the imminent demise of the DFV induced in me a form of disorientation. I was probably not the only one who was not yet totally prepared for this brave new world.

So was racing "better" when all or most of the field was turbo-equipped?  Well, it was certainly exciting at times, especially in qualifying around the mid-80s when some teams had in excess of 1000 bhp at their diisposal. Many still wax lyrical about Ayrton Senna's exploits in the Lotus Renaults, and of course there was Rosberg's 160mph lap at Silverstone in '85.  The early laps of some races, at least in 1982 and 1983, before fuel restrictions were introduced, were spectacular and frenetic, with the turbo runners seemingly intent on racing each other to destruction. Monza in 1982 was typical of this trend.

I know that several prominent journalists saw the turbo era of the 80s as one of the high points of the sport's history, because of the distilled, almost primeval drama which the technical developments encouraged, in qualifying most of all. Some offered the opinion that those cars were driven by "real men", and that they rewarded and magnified both bravery and finesse.However, there is also an argument for saying that the massive horsepower and performance differentials made it impossible to appraise driver capabilities, a perilous and unenviable task at the best of times.

As with much nostalgia, we tend to filter out the less agreeable aspects from our memories. In the 1984-86 period, the fuel rules turned some races into economy runs, and raised the spectre of cars running out of fuel in the closing stages of races. It was remarked at the time that qualifying, on stratospheric boost, bore little relation to the race, and was almost a separate event. It is significant that Alain Prost was the pre-eminent figure in mid-1980s F1, being able to juggle the vagaries of tyre wear, fuel consumption and strategy.

By 1986, Honda had begun to master the fuel consumption problems, and dominated the sport for the next two seasons, which contained much dreary and processional racing, as few could hope to match Honda's overall package for speed and reliability. By now, turbos had lost their way, the technology was becoming stale, and Grand Prix racing was looking a little tattered around the edges, with separate classes introduced for normally aspirated contenders, and some participants may have been looking further ahead, anticipating the forthcoming change in the engine regulations. Hence the utter McLaren domination of 1988, as the other manufacturers ceased developing their soon-to-be-redundant turbo engines.

Looking back, turbos, with their aura of extravagance and expense, seemed suited to the glitzy and thrusting 80s, and they broadly corresponded in direction and ethos with trends in other forms of motor sport at the time. The world has changed, though, and the rationale behind the reintroduction of turbos for 2014 is very different to that which triggered their heyday three decades ago.

It remains to be see what effect the 2014-generation turbos will have on the direction of the sport.  I somehow doubt that the raw, chilling and exhilarating spectacle of 1985/86 will return, but I remain cautiously optimistic that they will engender both some renewed technical interest and freshness, and a shake-up, however temporary, in the competitive order of things.

2013 Canadian Grand Prix

The indicators from practice had pointed to an advantage for Red Bull in race conditions, but all the same the manner of Sebastian Vettel's victory will appear ominous and even demoralizing to the competition. It may be an exaggeration to describe this win as the one which "broke the back" of the championship, but not much of an exaggeration.

The challenge being offered by the other supposed contenders is looking a touch brittle and fragile.  Fernando Alonso salvaged something from what had been a mediocre weekend, in his patented style, and Ferrari are somehow still not totally convincing in 2013, despite the air of confidence still emanating from the team..

The consistent and even performance now coming from the Mercedes is encouraging, tempered by an honest acknowledgement that the car is not quite fully "there" yet. Lewis Hamilton's comments afterwards were relatively upbeat, but the racer in him must be a little frustrated at the team's inability to traverse that gap.

The one front-running team who will be truly disappointed by events in Canada will be Lotus.  They were never really "at the races" all weekend.  It is to be hoped that his constitutes just a blip, a bad day at the office if you will, and that it does not presage a tailing off in fortunes. There is still enough flair and determination in their ranks to make a mark in the remaining races.

The less said about McLaren's weekend the better!  Even Jenson Button struggled to conceal his pessimism in his post-race assessment, although expressing hopes that Silverstone may be better.

Other drives are worthy of mention. Paul di Resta's spirited drive was very timely, particularly vis-a-vis his team-mate. Another unobtrusive but impressive display too from Jean-Eric Vergne.  Perhaps unsurprisingly Valtteri Bottas did not translate his praiseworthy qualifying slot into a tangible race result, but there is something to build on there.

So what of hopes for a competitive second half to the season?  It is hard to predict with any degree of certainty which team, if any, will make inroads into the lead of Vettel and Red Bull, with their numbing consistency and efficiency.  Silverstone should offer additional clues and evidence.

2013 Monaco Grand Prix

An unsatisfactory race on several counts.  Too many crashes, which made the race scrappy and fragmented. It goes without saying that the "the tyre situation" once again reared its head, and the effects were felt particularly acutely in the early stages.  At least there was no shortage of talking points!

Nico Rosberg looked to have the legs of everyone else for the bulk of the weekend.  On paper, it looked like the impediments which have afflicted Mercedes' race form in recent times would be less pronounced in the principality, and so it proved, even allowing for some reservations expressed by the drivers.

The one mystery in the race was the mediocre showing of Fernando Alonso, who if anything seemed to go backwards as things progressed. I for one had expected his nous and solidity to show through here, but it was not to be, and it has to go down as a missed opportunity.

Whilst some of the established runners were encountering misfortune, others were performing above themselves.  A superb drive by Adrian Sutil, his most convincing since he returned to Formula 1, a reminder of his capabilities, and another building block in his bid for recognition.  Drives tend to be noticed more at Monaco than at most other venues. Jean-Eric Vergne's eighth-place finish was also a fine achievement. 

McLaren were unexpectedly visible and prominent in the race, even allowing for their mildly encouraging practice. Sergio Perez caused a few ructions with his tactics, but at least showed some fire.  The sixth place notched up by Jenson Button is very welcome, but is unlikely to fool too many people at McLaren. 

A mundane, uneventful and smooth weekend for Romain Grosjean!.  It was like 2012 all over again.  His raw talent is not in the slightest doubt, but a nice anonymous but productive weekend in Montreal would not go amiss. With luck this latest penalty might concentrate his mind. When we also consider Raikkonen's problems late in the race, one hopes that Monaco does not signal some kind of downturn in fortunes for Lotus. 

Reading form from here on in is tricky.  It seems reasonable to assume that Red Bull are not going to crumble or weaken appreciably.  The growing strength and confidence of Mercedes, if it can be sustained, is the new factor in the equation. In fact Sebastian Vettel, with a nice little points cushion, will possibly secretly welcome this trend, as it is likely to deprive Ferrari and Lotus of points in their efforts to close the gap. 

2013 Australian Grand Prix

My appetite for Formula 1 was in danger of becoming dulled and diminished, for various reasons, but just the merest glimpse of the television pictures from today's race in Melbourne was sufficient to hook me in anew.

It feels increasingly facile to say this, but all the signs point to a season of comparable competitiveness and interest to that of 2012.  The variable of tyre management is once again present to provide the element of unpredictability.

Having said all this, Red Bull still look to have all the equipment to succeed, and it would not be surprising if this made itself felt more acutely in the next few Grands Prix. The car looks very stable, efficient and consistent, and Sebastian Vettel, although ultimately occupying the bottom step on the podium, was in the thick of the action throughout at Albert Park.

One of the main points of speculation before the next race will inevitably be the "plight" of McLaren.  They were utterly anonymous in Australia, and there has been much conjecture about the reason for their shortfall in outright pace.  Is the design itself overly ambitious?  Much work clearly needs to be done in order to remedy matters.

On the McLaren driver front, one has to feel a measure of sympathy for young Sergio Perez.  When he joined the team, he could have expected to have a reasonably competitive machine under him, and the car's deficiencies must be compounding the pressures he will be feeling as a new driver in a top team. He may also be confronted by a dilemma.  Will he be tempted to overdrive in order to surmount the car's failings, or will he be overly-conscious of the need to avoid mistakes, and consequently become excessively circumspect?  How he deals with this situation may tell us much about the Mexican's ultimate potential as a Grand Prix pilot.

By contrast, Ferrari enjoyed a solid and encouraging opening to the new season.  Hopefully, people will not become carried away by all this.  At this time last year, the Italian outfit was going through a tough time, and just as their problems back then were overplayed, there may now be a tendency to inflate expectations on the basis of one race.  At the same time, it was a heartening display, with both drivers performing capably.  In particular, Felipe Massa seems to have been emboldened by the confidence placed in him by Ferrari.

The augurs for the Mercedes team look mixed. There is little sign that they have attained a major breakthrough, and any marginal rise in assertiveness and feistiness my be attributed to "the Hamilton effect". The Englishman raced manfully as ever, and we can be fairly confident that he will extract the maximum from the car.  A cloud was introduced by the retirement of Nico Rosberg, raising the spectre of the spate of mechanically-related retirements which afflicted the team in 2012.

A "wild card" was provided in this race by Adrian Sutil in the Force India.  Some of us have long rated his abilities, and he looked very much at home at or near the front of the field. The internal competition within that team this season could be very interesting to follow, with Sutil perhaps poised to fulfill the role undertaken by Nico Hulkenberg last year.

Turning to Lotus, it is to be hoped that they have learned lessons from 2012, in terms of how to convert strong race-day showings into regular victories. I would suggest that the jury is still out on this.  As has been observed, Raikkonen will be more formidable this season than last, having got plenty of mileage under his belt, and any cobwebs will now have been comprehensively cast off.  He just needs the tools to enable him to consistently take full advantage.

It is good to see a reshuffle among the teams, and the appearance of some new faces to freshen things up.  Malaysia next....

In The Name Of Glory - Tom Rubython

Continuing my post-season reading efforts, I have recently completed another book which formed part of my Kindle "backlog".  This was In The Name Of Glory by Tom Rubython, a study of the momentous 1976 Formula 1 season, and more specifically the championship contest between James Hunt and Niki Lauda.

The author does have his detractors amongst racing enthusiasts, and it has to be said that the subtitle of this book (1976 - The Greatest Ever Sporting Duel) hardly inspired confidence.  However, I was prepared to give this one a chance........

The most noticeable thing at first glance was the brevity of this publication, certainly in comparison to the two other Rubython ones which I have previously read, The Life Of Senna and Shunt, the latter of which I blogged about here:-

Shunt - The Story of James Hunt

A couple of contentious assertions early on in the book rather set the tone for me, particularly the one concerning Lauda's supposed attitude to losing the championship in such circumstances.  What is said runs totally against the grain of the majority of perceived wisdom on the subject.  Also, it is stretching things to imply that the 1976 season was uniquely dramatic, exciting or eventful.

The book contains a few factual errors.  Lauda's debut in Austria in 1971 is not mentioned, and he did not win the 1974 Belgian Grand Prix. There was no Canadian Grand Prix in 1975, and Haiti is not in South America.  These things tend to grate after a while....

The thing which most perturbed me, though, was the tendency for hyperbole and exaggeration.  Personality clashes, or personality traits, of certain individuals are laboured excessively, presumably to heighten the sense of abundant frisson.Motor racing, like life in general, tends to be a subtle and complex endeavour, and therefore best seen in a million shades of grey.  However, here the author seems at pains to interpret things in extremes. Where the 1976 season is concerned, this is unnecessary, as the reality was in itself sufficiently remarkable...

To suggest at one point that Luca di Montezemolo was solely responsible for Ferrari's mid-1970s revival is also a novel interpretation of events.  I dare say that Messrs Lauda and Forghieri would have something to say about that.  This is an example of the author's "all or nothing" approach to some topics.

There is an appraisal also of the feverish politics which supposedly gripped the Ferrari camp around that time, especially when di Montezemolo became less involved in the Formula 1 effort.  Again, there may be a little embellishment, but one can gain a good idea of the backdrop to Lauda's campaign, and these passages should be of some value to those not previously familiar with the stories.

There is much prurient, if entertaining, focus on James Hunt's lifestyle.  Where the book did score some bonus points for me was in its efforts to detail Lauda's upbringing, and his early racing activities, including the way in which he raised finance, and incurred the wrath of some family members along the way.

Unsurprisingly, much of the Hunt-orientated material will be very familiar to those who have read Rubython's Hunt biography.

For all my reservations about the book, the raw facts of the story are enough to make this an entertaining read, if one takes some of the author's flights of fancy with a pinch of salt.

The Limit - Michael Cannell

With the end of the 2012 Formula 1 season, I have thrown my energies into further exploration of motorsport history.  As part of this process, I recently read a book which had been nestling on my Kindle for a little while.  I refer to The Limit, by Michael Cannell.

Ostensibly, this book, sub-titled Life and Death in Formula One's Most Dangerous Era, takes a look at the lives and careers of Phil Hill and Wolfgang von Trips, culminating in the tragic conclusion to the 1961 season.  However, in a wider sense it serves as a chronicle of a whole epoch in the sport, and it also throws a light on the changing of the times in the aftermath of the Second World War.

There is a wealth of biographical detail about both Hill and von Trips, and some attempt along the way to gauge how aspects of their respective backgrounds may have impacted on the course of their racing careers. The chapters covering Hill's upbringing in particular I found enlightening, and some of my preconceived notions about him were dispelled.

There are some evocative and sobering passages dealing with Hill's attempts at the Carrera Panamericana, and an intriguing account of how he gradually attracted the attention of Ferrari.

The parts documenting the formative years of Wolfgang von Trips are valuable because there seems to be a dearth of in-depth material available about him, in the English language at least.  Again, the story does not conform to some of the blithe assumptions which I previously harboured.  Some effort is made to explain how he ascended to World championship contender status, from his links with Mercedes and Porsche, the ambivalent attitude of his family towards his racing activities, to some of the accidents which hampered his progress along the way.

We are also given shorter, but still affecting, portaits of some of the other characters in this drama, such as Alfonso de Portago, Luigi Musso and Peter Collins. One is left with the feeling that a uniquely diverse, complex and substantial band of men inhabited the Ferrari team, and motorsport generally, during those years.

The turbulent and tragic 1958 Grand Prix season is covered in depth, particularly the internal and political strife engulfing the Ferrari driving strength.  It appears that the scheming, intriguing and general volatility assumed some kind of peak around the middle of that year.  The portions revolving around the deaths of Luigi  Musso and Peter Collins, and their aftermath, are interesting to say the least.

Many of the anecdotes, including those concerning Enzo Ferrari, will be familiar to many, but it is good to have so many condensed into this tome, and for many the book will serve as a form of "refresher" pertaining to the goings-on of that era.

Perhaps understandably, the 1959 and 1960 seasons are largely glossed over, so that attention can be rightly devoted to the momentous 1961 championship struggle.  The impression given here is that there was more tension and gamesmanship between Hill and von Trips than is often assumed. Their relationship that year was a curious one, and it is a moot point whether any mild animosity which may have developed was precipitated by the actions of the Ferrari team itself.  The events surrounding the fateful Monza race are dealt with sensitively and without sensationalism.

One of the most striking aspects of this book for me is its depiction of the personality of Phil Hill.  He had always been a somewhat enigmatic figure to me, different in many ways from the archetypal Grand Prix driver of virtually any era, but The Limit paints a very complex picture, even when compared to that which I had always assumed to be the case. Belying his image with some as a "Ferrari man" through and through, Cannell implies that the Californian felt under-valued and under-appreciated in the team.

There is some well-pitched analysis of the differences in the relative psychological make-up of Hill and von Trips, and how this affected their attitudes to racing and its perils, their motivations to compete and their outlook on life in general.  Some racing books can indulge in this sort of thing to excess, but I think here the author got things just about right.

I found Cannell's writing style to be expressive and rich, but also accessible and enjoyable.  The atmosphere and ambience of the time, both on and off the racetrack, is powerfully and effectively conveyed. The book contains the odd, relatively harmless, historical inaccuracy, but this should not detract from the book's entertainment value. The one other mild irritant is a tendency for the socio-political importance of  motor racing, particularly in parts of Continental Europe, to be over-estimated.

I approached this book with an open mind, not knowing quite what to expect.  I was pleasantly surprised by its content and style, and by its ability to hold the interest and attention.  The fact that I got through it within a few short hours is testimony to this.  I came away feeling that I had genuinely learned things, which is one of the criteria with which I judge a book's merits.  Dedicated historians may not feel that it adds that much, but for anyone seeking a grasp of the flavour of the sport and the times, The Limit is well worth checking out.

In addition, I came away with a greatly enhanced respect and reverence for Phil Hill, Wolfgang von Trips and all those who participated in top-level motorsport during that time....

Grand Prix - the movie

When it comes to motion pictures about the sport of motor racing, the record of success would have to be described as mixed at best.  Indeed, I have seen and heard a few observers venture the opinion that some of the worst creations ever committed to celluloid have been motorsport-related.  However, a few efforts shine like a beacon amongst the general mediocrity, and remain vaguely definitive.  One of these is the 1966 movie Grand Prix, directed by John Frankenheimer.

It was an opportune time to be conceiving a film about Grand Prix racing.  In 1966, the new 3-litre engine formula was instituted, and a new breed of more meaty and muscular machines entered the arena.  These cars looked and sounded more dramatic and imposing than their 1.5 litre predecessors.  The elegant European aesthetic of the mid-1960s was also a strong ingredient in the movie's appeal.

As well as taking advantage of circumstance, the producers carried off a master-stroke by enlisting the co-operation of the Formula 1 circus, or at least most of it.  By filming at the actual venues during the race meetings, they imbued the picture with an authenticity with most other examples of this sub-genre have manifestly lacked.

As for the plot, well if not totally implausible, then it errs decisively towards the "Hollywood".  Not that most of the events depicted have not occurred in real life, but not condensed into just a few months, and revolving around a few select people! To some extent, any misgivings concerning about the story-line are ameliorated by the movie's excellence in other departments....

One of the areas in which Grand Prix excels is in its cinematography, the race action sequences being highly accomplished and advanced for their time.  Indeed, these portions of the film even stand up to 21st century scrutiny. In a wider sense, the film is visually luxurious and sumptuous, trouble seemingly being taken to focus on landmarks and the opulent.

Of the actors involved, I find James Garner's performance as Pete Aron to be the most convincing and impressive.  Garner capably constructs Aron as something of an outsider, a strong and silent type.  Hardened and quite cynical, but at the same time a humane and sensible figure.  Garner's overall plausibility and impact in the role may be related to his apparent affinity for racing.

The other performance which I find both credible and accomplished is that of Jessica Walter as Pat Stoddard.  She comes across as what might have been the public's perception of the typical racing driver's wife of the time, but the character is believable, and as an added bonus Ms Walter is very easy on the eye!

Yves Montand is assured as Jean-Pierre Sarti, evoking the gravitas but increasing weariness of a Fangio-esque elder statesman. It has to be said that some of the other actors did not work quite as well in their roles, whatever those with rose-tinted glasses may say.  The poor acting in places is an irritant and a blemish, even if it is unlikely to perturb unduly the people who will view the picture.  Some of the acting by the racing drivers is cringe-inducing, but they can be excused!

Having said that the elegance and stylishness of 1960s Europe is an enticing backdrop to Grand Prix, it also sometimes strikes me that 1960s motor racing was quite conservative, "square" even, when compared to other arenas of cultural endeavour of the time.  The "dolce vita" ambience therefore could be viewed as a touch dated, whatever its seductiveness.

The film does convey the sense of community and togetherness which, by all accounts, prevailed in those days in the racing scene, and which is so often cited as one of the main ways in which the sport has altered in the ensuing decades.  At the same time, the increasing professionalism and commercial pressures are not totally overlooked.  It was not always about camararderie and chivalry...

As is obligatory in racing films, there is much philosophising about the dangers and risks, although in fairness this is not done to excessive lengths or in a sensationalistic way.  The dialogue on this subject, and related matters,  is comparatively mature and understated, rarely descending into mawkishness.  For example, the scene outside the pub after the British Grand Prix, involving Sarti and Louise Frederickson, is very well judged.

One criticism which I would level against the script is that there is occasional superfluous "fluff", mostly in the downtime when the cars are not on track.  Although it can be contended that these passages would appeal to the "general" audience, discarding them would also have made the film shorter in length.  Perhaps they should have made an "alternative" edited version, cutting out the more frivolous parts, for the benefit of petrolheads?

The movie's makers deviated from the real 1966 calendar by having the Italian Grand Prix at Monza as the final race of the season, and also by staging the race on the old banked circuit. For dramatic effect, these decisions were perfectly understandable. The Monza sequences are beautifully constructed, with the circuit  presented as the inspiring "cathedral" of motorsport.  Tension is created, and many of the strands and sub-plots coalesce.

Granted, the four-man championship showdown may stretch credulity for some observers, but the nature of the race itself was not too dissimilar to many Grands Prix which took place at Monza during that period! The final scene of the entire movie is one of its most masterly and evocative, with James Garner strolling down the pit straight at Monza, in front of deserted grandstands.  Spine-tingling stuff....

Despite the reservations, Grand Prix remains a great looking and sounding film, and to a large degree effectively captures the organic and analog F1 of the mid-1960s.  It remains amongst the most credible mainstream movies made about auto-racing, and the much-hyped and anticipated efforts of more recent times have almost without exception failed to hold a candle to it. It is still a benchmark of sorts. The conditions under which Frankenheimer's work was made will in all probability never be replicated, and this  militates against something matching it.  Technology and finances are no substitute for realism, passion, ingenuity, and that intangible "magic"....

Kimi Raikkonen's Valencia Test

Well, both the Lotus team and Kimi Raikkonen have been making positive noises following the conclusion of the former world champion's comeback F1 test in Valencia.

The Finn clocked up some solid mileage, and also began to become acquainted with his new team. Of course, lap times were meaningless, given the machinery at Raikkonen's disposal during the two-day tesing session, and the absence of benchmarks, and we may only start to deduce pointers to the potential of driver and team once the serious pre-season testing commences with the 2012 cars.

Kimi, rarely the most outgoing or effusive of men, seems genuinely enthused and stimulated by the prospect of driving in Formula 1 once again, and needless to say it is a very welcome and heartening sight for fans to see him back where he undoubtedly belongs.

The team too has been saying all the right things, clothed in the usual F1 PR-speak. They will be relishing the chance to work with a truly top-line driver, who can be expected to drive the car to its limits, and by so doing motivate and excite the team personnel.

One of the fascinating things about the 2012 season will be to find out whether Raikkonen is capable of leading what is ostensibly a "higher midfield" team to greater things by allowing his natural talent to "lead from the front". Perhaps in this environment we will also see aspects of Kimi's make-up which have not previously been overly apparent. He is certainly eminently capable of taking a car to places which it does not "belong", but the human and political facets will also be crucial.

I have been following F1 racing for far too long to be unduly swayed or convinced by pronouncements emanating from pre-season tests. The smiles and brave words on windswept and lonely tracks often mean little once serious combat gets under way, and harsh, cold reality makes its presence felt.

All the same, Raikkonen and Lotus seem to be moving in the right direction, ready and eager to face the challenges which lie ahead.