Working The Wheel - Martin Brundle and Maurice Hamilton - book review

Another item in my library of motorsport books is "Working The Wheel", by Martin Brundle and Maurice Hamilton, first published in 2004. This is a series of recollections and analyses of Formula 1 circuits and venues, based on the words of the former Grand Prix driver and Sportscar World Champion.

The text I think reflects Brundle's feisty but honest, no-nonsense racing persona. His views on some circuits are intriguing and hardly stereotypical, but his reasoning usually appears sound. He welcomes changes made to some tracks, which in other quarters have been decried.  He prefers a tricky or convoluted section of track to replace a flat-out section which represents little in the way of challenge to the driver, and with dangers ever-present.

A very practical and pragmatic philosophy emerges, although at the same time Martin underlines his respect for the traditions of motor racing and also his sense of history. He, for example, clearly relishes the atmosphere at places such as Monza.

"Working The Wheel" is liberally peppered with anecdotes from Brundle's time as a racing driver, many of these stories related to contentious or murky episodes, and doubtless made easier to recount by the passage of time.  It is fascinating to hear his own personal perspective on some epochal incidents and iconic personalities, and his own, sometimes peripheral role in how things unfolded.

There is lots of "local colour", and vivid memories of the individual flavour and atmosphere of the circuits and their environs. Some might think that a disproportionate amount of space is given over to amusing (and occasionally hair-raising) stories about Brundle's travels to and from circuits, but these add to the entertainment value, and also help to provide an insight into the pressures and the existence.

Some of Martin's observations remind us of his own narrow escapes from disaster, and his hard-luck stories, and also of incidents which have either been forgotten, or did not receive much coverage at the time when they happened. Minor triumphs and tragedies which combine to form a rich tapestry, and a window on the personal battles and "little victories" which constitute such a part of the racer's experience.  I was also delighted that he included chapters about Le Mans, as well as a few "defunct" F1 venues, such as Detroit and Adelaide.

In general, the Formula 1 circus comes across as an intoxicating place, and the enthusiasm of the author(s) shines from every page. That said, this tome does shine a light on the hardships which go along with the glory and the riches. I'm still envious of the lifestyle, though.

"Working The Wheel" is a rattling good read.  Some readers might prefer to scan over the more technical passages detailing braking points, racing lines, gear changes and so forth, but the contents are by and large candid, highly entertaining and in places enlightening.

Le Mans (1971) - movie review

Some time ago, I wrote a blog post about Le Mans, the 1971 movie set around the famous 24-hour race in France, starring Steve McQueen.  Recently I dug out the DVD again to renew acquaintance with the film, and thought that I would share some of my observations.

It is probably fair to say that opinion on this movie has been mixed down the years. Many have pointed to the excellent racing scenes, but poured scorn on the plot and other aspects of the story. Personally I really like Le Mans, but it almost feels more like a documentary in places, and I can readily appreciate how many "laypeople" will find it pedestrian, dull even. Many things are underplayed, which is admirable from an artistic and authenticity standpoint, but people have perhaps become conditioned to expect a racing movie to be over-the-top and hysterical in tone.

The visuals are lovely, the sound impressive and Michel Legrand's music classy and atmospheric. These all help the film to capture the essence of the event and the times. The plot is hardly imaginative, but I feel that it is handled with restraint, by the standards of racing movies anyway. There is less melodrama, or pandering to the base instincts of the audience. Many of the sub-texts are implied rather than outlined explicitly, especially the emotional and "romantic" elements.

The realism of the racing sequences is difficult to dispute, as the footage was shot with real racing cars and drivers, much of it at the time of the 1970 Le Mans race. However, this does make some of the pitlane scenes seem a little "artificial" by comparison, if not excessively so. Another noticeable trait of the picture is the sparsity of the dialogue.  The narrative and the exposition are driven largely by the visuals and the words of the circuit commentators.

A thing which stands out for me in the film is ambiguity in the characters and their attitudes. The awkwardness of Michael Delaney, for example (well suited to McQueen's "underacting" here), an inscrutability which reminds me slightly of Pete Aron in John Frankenheimer's Grand Prix.  Not really cast in the comic-book image of racing drivers, who are not "meant" to be taciturn or reticent.

Of course the story and the characters are fictional, but I don't really blame the film-makers for distilling it down to "Porsche v Ferrari".  The "heartbeat" sequence before the start of the race strikes us now as hackneyed and even corny, but I guess that it may have been innovative and affecting in the early Seventies. The two main crash sequences are well done, evoking the violence and the energy involved.  The slow-motion reply of Delaney's accident has I think become quite iconic in its way.

Apart from McQueen, the cars are the stars, and few of the supporting actors make much of an impression. Ronald Leigh-Hunt is likeable though as the Gulf-Porsche team manager;authoritative but occasionally avuncular. Elga Andersen also has great screen presence as the racer's widow - those eyes!

In its tone and general aesthetic, Le Mans feels more like European art cinema than Hollywood.  We have the obligatory thrilling climax, but even here things are somewhat inconclusive, in keeping with the generally reflective and sober tenor of the movie.

I still think that, for all its faults, Le Mans is a fine document. Technically very good, and the fact that a mainstream audience would assert that as a movie it "happens" only fitfully frankly elevates it in my estimation.

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.

Racing In The Rain - John Horsman

I have resolved to spend more time reading, and in some cases re-reading, lots of books on motorsport history.  One which I never tire of is the wonderful Racing In The Rain, by John Horsman.

The book colourfully but informatively chronicles Horsman's involvement with the motorsport projects of Aston Martin, Ford and Porsche, mainly through his role with John Wyer's organisation.

The early stages of the book evoke a real sense of post-war and 1950s Britain, its optimism and its relative simplicity.  It moves up a gear when we move into the Aston Martin years, and there are some great anecdotes from this era.  It is safe to say that technology had a way to go, and improvisation was often the order of the day!

Horsman's enthusiasm for his work and his subject comes through in every word.  One thing which gives the book some bite is the author's willingness to be frank in his appraisal of mistakes made, and particularly in apportioning responsibility.  There is some exasperation with the politics of the GT40 project, and also with the vagaries of the subsequent relationship with Porsche.  Although the descriptions of these things are candid, they never detract from the book's overall charm.

The early stages of the book in particular are greatly enhanced by the author's own wonderfully evocative and atmospheric photographs.

John Horsman's own detailed technical recollections and data mean that this book should appeal both on a human level, and also for those whose interest is more of a mechanical nature. Some of the descriptions of frantic pre-race preparations and test sessions induce a real sense of "being there".

I would recommend this book to any motorsport enthusiast.  A real gem.

Le Mans 1970-79 - Quentin Spurring

Just a note to recommend this book, which is subtitled "The Official History of the World's Greatest Motor Race".  Here is a photograph of me holding my copy:

Although there is lavish photographic content, this is not just a "coffee table" work. There is admirable concentration on the technical aspects of the racing.

The 1970s are often seen as something of a "lost" decade for Le Mans, and for sportscar racing in general, coming as they did between the classic Ford-Ferrari-Porsche era and the prosperity of Group C. However, as Quentin Spurring capably documents, there was plenty to enthuse about, and some of the most tense racing in the history of the event.

Rather than simply provide a basic review of each race, the author also separately examines the fortunes of various teams and classes at each race, putting developments into their historical context. The level of detail is impressive, and will add to the knowledge of any sportscar racing fan.

As the race organisers sought to respond to global economic conditions and motorsport politics, the regulations seemed to be in a constant state of flux at this time, but this is just adds to the fascination. Even when manufacturer interest fluctuated, the race always seemed to reinvent itself.

Le Mans 1970-79 is an excellent and enlightening read....

Jacky Ickx

Often our sporting heroes are not necessarily the ones who are statistically the most accomplished, or those who have bequeathed the most substantial legacy for the historians to mull over.

Rather, it is common for us to revere or respect those who have endeared themselves to us in other ways, by virtue of their charisma, sportsmanship, natural talent or originality. Such is the case with one of my heroes, the Belgian racing driver Jacky Ickx.

A cultured and debonair figure, Ickx was something of a prodigy in motorsport, cutting his teeth on motorcycles and in saloons, before embarking on the path which would make him arguably the greatest sportscar driver of all time.

Soon enough, Ickx made his mark on single-seater racing, becoming the European Formula 2 champion in 1967, and impressing everyone with his first outings in Grand Prix racing.

From 1968 to 1972 Ickx was without doubt in the top three of Formula 1 drivers, twice finishing runner-up in the title race. His career in the premier rank began to ebb in 1973, with Ferrari in the toils, although he reaffirmed his essential class with a podium finish in a one-off drive for McLaren at the Nurburgring.

A move to Lotus for 1974 seemed to augur well on paper at least, but it was not a happy relationship, and before 1975 was out Jacky had departed from the team. His subsequent F1 career was a spasmodic affair, culminating in his swansong with Ligier in 1979. The ground-effect cars did not seem to suit his driving style.

Although Ickx's Formula 1 prospects faded as the 1970s progressed, he continued to be supremely competitive in sportscar racing, and he remained so until his retirement from racing in the mid-1980s. By that time he had recorded six wins in the 24 hours of Le Mans.

With wins also in Can-Am and at Bathurst, as well as in rally-raids, Ickx must be counted as one of the great all-rounders. His economical and elegant driving style appeared to be particularly well suited to the classic "driver's circuits", and he was especially impressive on the Nurburgring Nordschleife, in both single-seaters and prototypes.

His prowess on the classic circuits is also consistent with Ickx's image as a traditionalist, who was ambivalent about some of the driver safety campaigns, and bemoaned the demise or emasculation of many of the historic venues.

In image and outlook, Ickx was something of a throwback to earlier days.

Reflections on Steve McQueen's "Le Mans"

In recent months, my motorsport interest has centred on sportscar racing as much as Formula One, and particularly the period 1968-1972. This era took in the tail end of the Ford GT40's shelf-life, the struggles between Porsche and Ferrari, and the fitful exploits of Alfa Romeo and Matra.

Perhaps the most enduring fictional document of this "golden age" of sportscar racing is Steve McQueen's 1971 movie, "Le Mans", much of which was filmed at, or around the time of the 1970 edition of the legendary endurance classic. I recently watched this film in its entirety, and thought it worthwhile to post some of my thoughts and observations here.

The plot of the film centres largely on McQueen's character, Gulf Porsche's star driver Michael Delaney, and his attempts to win at Le Mans. Delaney had been involved in an accident in the previous year's race, which had cost the life of Ferrari's Piero Belgetti. The return to Le Mans of Belgetti's widow, Lisa, forms a central strand of the narrative.

McQueen delivers a restrained performance, and simply allows his own charisma and persona to do much of the work. Being a racer himself, McQueen would have had some insight into the mindset of the archetypal driver. The character of Delaney possesses tunnel-vision and drive, and is quite mono-syllabic! Throughout the movie he comes across as awkward and ill-at-ease outside the racing car, and in social situations generally. An example of this is the stilted small talk which occurs when he is with Lisa Belgetti.

In some respects, Delaney reminds me of the Pete Aron (James Garner) character in "Grand Prix-The Movie". An outsider, dispassionate and cynical, particularly in dealings with the media. It is interesting to note that, even in a mainstream film, the producers resisted the temptation to make the central character a "comic book" racing driver type.

Inevitably, some compromises were made with realism, but these were largely excusable. The manner in which several cars caught fire after accidents was dubious, as was the constant stream of information conveyed by the circuit PA system. The latter, however, assisted with the narrative, and was not totally implausible.

Turning to the mood and tone of the film, at times I detected an almost "documentary" feel, with some scenes almost redolent of "cinema verite". At very few stages does "Le Mans" descend into cliche, like most other racing movies. It seems to have been made by enthusiasts for enthusiasts. The human interest elements are not permitted to totally obscure the "anoraky" technical aspects.

The supporting characters were also constructed with some thought. Stahler, the Ferrari team leader, belying outdated national stereotypes, comes across as more human, warm and likeable than Delaney.

David Townsend, the Porsche team manager, appears to be a composite of various real-life motorsport personnel of that era. He is a combination of British stiff-upper-lip and more modern ruthlessness.

One of the more under-rated parts of the film is the night-time sequence, particularly where the lonely and pensive Lisa wanders through the jolly crowds, emphasising the contrast between her emotions and the more straightforward pleasures of the racefans.

After his accident, Delaney is recalled to take over Ritter's car, but there is no corny fairy-tale ending, as he does not win the race, merely helping team-mate Larry Wilson to do so in the sister car. Also, despite hints of an intimate bond, McQueen does not really "get the girl".  None of this left me with a sense of anti-climax, as it was in keeping with the realism of much of the film overall.

Unfortunately, after the cold reality of the race's outcome, the final scene is something of a schmaltz-fest, with lingering slow-motion, soft-focus glances exchanged between Lisa and Delaney, and some distinctly cheesy music! However, this is a small criticism of a technically well-made movie, which has aged much better than the majority of other racing films.