Rush (2013 movie) - more thoughts

When it was first released on DVD, I composed a blog post reviewing the 2013 movie "Rush".  This is the Ron Howard film which tells the story of the Seventies Formula 1 drivers Niki Lauda and James Hunt.  I recently watched the movie again, and wondered whether my views and impressions might have shifted in the intervening period. I propose to leave aside for the most part any historical inaccuracies which I noticed.

From my late 2015 standpoint, I might describe the feel of "Rush" as being slightly "forced", a little airless and compressed. It is visually impressive, but lacking a touch of elegance, guile and finesse, notwithstanding the inclusion of a few powerful and insightful scenes.

It has been suggested that the movie's comparatively modest budget, and associated time constraints, might have contributed to its flavour and to some of its flaws. My thoughts on this are ambivalent - in places the film has a very "professional" look, but elsewhere one can see where corners might have been cut. For my own tastes "Rush" is a touch too "digital" and post-modern, lacking the charm and fluency of some earlier racing films.

Part of my assertion that the film is "forced" is based on something which I observed when I first saw it almost two years ago. The makers appear to have had a "checklist" of anecdotes and stories (some apocryphal) which they felt they had to pack in during the early portions of the picture. My sensitivity to this phenomenon may be traceable to my status as a 70s-F1-anorak. I appreciate that this would not occur as much to more casusl viewers.

The performances of the main actors attracted much comment. Daniel Bruhl rightly received much praise for his portrayal of Niki Lauda. Quite apart from the physical resemblance, he also managed to capture many of the Austrian driver's traits and mannerisms.

Chris Hemsworth as James Hunt was less universally acclaimed, and it is true that he does not quite evoke the nuances of James' inimitable persona, or the voice. The comparison between the two actors is invidious, though. It may well be more difficult to convincingly play Hunt than it is with Lauda.

I think that "Rush" really gets on track during the scenes relating to the close season of 1975/76, when we are shown Hunt's struggles to get a drive for the forthcoming season, as well as his personal problems. Cliches aplenty, of course, but some very fine moments too. In these sequences Hemsworth is very good.  The movie improves at this point because it becomes less about "back-story", composites of events and time-compression and more about a straight account. The dramatic raw-material is also better....

The Nurburgring sequences I think were well produced, without being excessively long or sensationalist, and the hospital scenes were handled more delicately than one has come to expect in films of this sub-genre or in "biopics".

The dialogue between Niki and James at Monza is convincing and credible, and the press conference where Lauda speaks is actually better than similar scenes in most movies. However, the bit where the journalist is beaten up has rightly been deplored as over-the-top and misrepresentative. A real fly in the ointment, that one. On the plus side, the imagery used at the start of the Monza race is highly effective in conveying the tension and the apprehension.

As for the racing action scenes in "Rush", well on reflection they are a mixed bag. Some are good, and CGI is used to fine effect, but others are less dazzling. One wonders why this was.  The "arty" close ups of crash helmets, suspension parts and so forth are entertaining, and a feast for the senses, but hardly original.

The build-up to the final 1976 race at Fuji is also well done, with a "less is more" ethos concerning dialogue. Visuals, sound and music all help to create the mood and the tension before and during the event.

The final scene at the airport is noteworthy both for its quality and its plausibility. It also comes as quite a surprise to have something this reflective and pensive after what had preceded it. Philosophizing, yes, but in a believable and poignant vein.

Looking at it honestly, "Rush" is a good and entertaining, if unexceptional, piece of cinema, its main strengths being Bruhl's performance, the inherent attractiveness of the subject matter and the occasional amusing or poignant scene.

Enzo Ferrari, A Life - Richard Williams - book review

With the dawn of the new Formula 1 season, I have been prompted to revisit some of the racing books gathering dust on my shelves. One of those was Richard Williams' biography of Enzo Ferrari, first published in 2001.

This is a biography of Ferrari the man, so those searching for exhaustive lists of chassis numbers, or intricate technical analysis, should perhaps look elsewhere. There is some good scene-setting stuff, exploring Ferrari's early life and his background.  Indeed, these stimulating passages left me yearning for more information concerning those formative years. The chapters dealing with Enzo's own racing exploits are equally evocative, for example the 1919 Targa Florio.

With limited space, it is understandable that this book does not go into great detail about how Ferrari reacted to, and fitted into, the febrile social and political climate which prevailed in Italy when he was launching his career in motor sport and business. The author does not ignore the issue, though, and one is left with an impression of the realities and choices faced by many prominent Italians at that time.

It is striking how convoluted, constantly shifting, and sometimes strained, Enzo Ferrari's relationship with Alfa Romeo was, much more so than is popularly imagined. I was gratified to find that this stage of his life is covered in some depth, as are the "heroic" and "golden" ages of motor racing, between the world wars. These sections are gripping, and one is left with a vivid impression of a perilous but momentous era. From the emergence of the likes of Nuvolari, Varzi and Moll, and Ferrari's relationship with these figures, to the sea-change brought about by the advent of the Auto Union and Mercedes teams. The legendary races such as the Mille Miglia and the Targa Florio are also afforded due attention.

At various junctures in this biography we are informed how some of the mythology and legend which surrounds (or surrounded?) Ferrari accumulated. It is worth stressing, however, that Williams does not go overboard on this dimension of the tale. Indeed, some myths and/or tall stories are dispelled or debunked. It is tempting to view every episode surrounding Ferrari in "conspiratorial" terms. Thankfully, a more measured and dispassionate approach is adopted here.

The parts of the book which address the tumultuous 1950s are also quite absorbing. The tragedies, the controversies, the playing off of drivers against each other, the brief Ferrari tenure of Juan Manuel Fangio and the turbulent 1958 season all feature heavily. Throughout there are also fascinating and often revealing anecdotes about Ferrari's dealings with drivers, celebrities, notables and the families of drivers. I feel that the portrayal of the man is balanced, showing his flaws but also highlighting his human qualities, which are often overlooked or obscured by the aforementioned mythology.

The outbursts of political trouble in the racing team are naturally detailed, including the problems with Italian drivers, the strains which led to the departure of John Surtees, and the Niki Lauda epoch. A recurring theme in the later chapters is the incidence of infighting, and the extent to which this was compounded by Ferrari's remoteness and consequent tendency to delegate. The complex nature of his relations with several drivers, including Surtees and Lauda, is examined realistically and sensibly. Matters were not always black and white, despite what some would like us to believe.  The accounts of the negotiations with Stirling Moss and Jackie Stewart leave me with a sensation of "what might have been".

Of course, Ferrari's personal and family life are documented here, as is the growth of the road car side of the company. We also learn about the abortive negotiations with Ford in the 1960s, and the subsequent agreement with Fiat.

Overall, this is a lively and well written book.

Ayrton Senna

In the summer of 1983, I was slowly becoming obsessed with Formula 1 racing, having had my imagination well and truly captured by the exploits of Gilles Villeneuve a couple of years before. I vividly recall reading the various motor sport magazines around that time, and learning about a remarkable young Brazilian, who in those days raced under the name Ayrton Senna da Silva. Soon enough this precocious talent found his way to Grand Prix racing, and we now found ourselves commemorating the twentieth anniversary of his tragic accident at Imola.

Only yesterday I was speaking with a female friend, who told me that she had no great interest in Formula 1 as such, but had been utterly captivated by Senna's charisma, and remains so to this day. Untold millions around the globe were affected in a similar way. Senna possessed that intangible magic which transcended his own field of endeavour, an accolade which goes to the very few. It can be persuasively argued that he played a massive role in transforming F1 into the slick multinational media spectacle that we see today.  He broadened the appeal of the sport.

Not unnaturally, Senna's tenure with the McLaren team tends to be highlighted, but I find his period with Lotus, from 1985 to 1987, equally compelling. The legendary outfit was in a slow decline, but Senna's mixture of raw ability, work ethic and competitive spirit kept them in the hunt. His tally of pole positions from those seasons, even when up against McLaren, Williams, Ferrari et al, speaks for itself. Senna was competitive almost everywhere, at least in '85 and '86, and his fearsome commitment and dedication were already clearly evident. Both in and out of the car, he took the "science" and "art" of Grand Prix racing to a new level, even above that practised by such modern greats as Stewart, Lauda and Prost, who had been cited as innovators and modernisers.

In common with most of the truly great drivers, Senna had what almost amounted to a "sixth sense", by way of his mechanical sensitivity. The most startling example of this which I have personally seen was captured in a British television documentary covering the 1993 season. At one race, Senna returned to the pits, unhappy with the performance of his car, and insisted that there was a minor problem with the engine, this seemingly having not been highlighted by telemetry and so forth. After much debate, the engine was dismantled, and sure enough a small but significant fault was discovered....

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.

Hunt versus Lauda - BBC documentary

Unsurprisingly, the release of Ron Howard's motion picture "Rush" has triggered much media coverage of the rivalry between the 1970s Grand Prix drivers James Hunt and Niki Lauda.  Last night BBC television rescreened its documentary entitled "Hunt vs Lauda - F1's Greatest Racing Rivals".  Some enthusiasts might dispute the accuracy of the second half of that title, but I thought it was an entertaining documentary, with some rare footage, and cutting and amusing analysis by those who were close to the action.

It was superior I think to the BBC's similar effort of years gone by, which was part of the "Clash of the Titans" series.  Some additional but revealing snippets of footage have naturally come out of the woodwork in the intervening years, and a broader list of contributors was on to hand to offer its memories and observations.

I thought that the producers did a good job of highlighting the differences in personality, without distorting the truth for dramatic effect.  The relationship between the the two men was by all accounts a good deal more complex than is often made out. It seems that they were on good terms even before they reached F1, and remained so thereafter, but the maelstrom of 1976 inevitably gave rise to tensions.

It would have been good to have more of the programme devoted to the lives of the drivers in their formative racing years, but I guess that the remit of the documentary, and time limitations, dictated that the main focus would be on the dramatic season of 1976. In all honesty, there is more than enough interest and intrigue in that year to justify three hours of running time, let alone one hour.

One of the things which continues to come through in all material about him is the web of contradictions which made up James Hunt.  A highly intelligent but unconventional character, who lived life to the full.  I still think that the definitive documentary about Hunt himself has yet to be made, one which fully examines his upbringing, his relatively short but tempestuous racing career, and his later life.  More emphasis on the Hesketh years would be particularly revealing!

I was also impressed by the way in which Niki Lauda's Nurburgring accident, and his recovery from it, were handled. Again, no resorting to sensationalism or mawkishness, but some very useful and penetrating insights. Lauda's honesty and courage shone through both in the 1976 footage, and in his later recollections.

The footage in this documentary amply illustrated the crossroads or watershed which 1976 represented for the sport.  Informality was still very much in evidence, as was diversity in aesthetics and car design. At the same time, commercialism and professionalism were increasingly making their presence felt.  The Hunt/Lauda dynamic became, if quite briefly, central to these processes. The changes being undergone by F1 definitely influenced how their relationship evolved, but by the same token they themselves acted as a catalyst for the further upheavals on the horizon.

Now, I just need to get myself to the cinema to watch the "Rush" movie myself....

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.

1978 Monaco Grand Prix

I recently watched a full video of the 1978 Monaco Grand Prix, and this prompted me to make some observations about the Formula 1 scene back then, and the odd comparison to our modern racing.

Viewing footage of this particular race served to remind me that this was the end of an era, and the dawn of a watershed in the sport's development, although few realised it at the time.  This was the last race before the introduction of the revolutionary and ground-breaking Lotus 79.  The complexion of F1 altered almost overnight, and the contest in the principality was the last glimpse of the "old order".  Grand Prix racing lost some of its innocence, and the modern era commenced.  Not only were "ground effects" about to become de rigueur, the commercial side of the sport was also beginning to be transformed, largely through television exposure.

These things are keenly felt by the likes of myself, who maintain that the period 1970-1977 represented some kind of golden age of F1 racing.  However, I acknowledge the merits and appeal of the ground effects and turbo eras which were being ushered in as the teams raced at Monaco in '78. 

So, to the race itself.  New talent was emerging and making its mark, in the form of Gilles Villeneuve,Patrick Tambay, Didier Pironi and Riccardo Patrese.  In the early stages of the race, the Williams of Alan Jones was quite prominent, symptomatic of the continuing rise of Frank's team.

The pole man was Carlos Reutemann in the gorgeous Ferrari 312T3, arguably one of the best looking F1 cars of its era. However, the grid was extremely competitive, with no one team or car/driver combination enjoying any discernible margin of superiority.  This was all to change at the next race in Belgium, when Colin Chapman's latest creation shook the status quo to its foundations.

The pattern of the race was influenced to some degree, as ever at Monaco, by the start.  Lauda and Reutemann clashed, and the Argentine driver had to pit with a damaged rear aerofoil. Caught up in all this was James Hunt, who brushed the barrier whilst taking evasive action.  One of the curious things about Hunt's F1 career was his relative lack of prowess and success on street circuits, although the failures were not always attributable to him.

John Watson took the lead at the start, and had the race under some kind of control, exhibiting his flair and fluency.  Alas, he was not to prevail this time, and as in so many races in 1977/78, he was denied victory. The Brabhams were pointedly competitive at this event, all this before the introduction of the notorious "fan car".

Watching the race in full, I was reminded how people's perception of Formula 1 has been affected by the role of television.  There is a tendency to lionise and wax lyrical about "the good old days", but much of this thinking is based on snippets of footage and brief highlights, in the days before widespread live TV coverage. There were lengthy "fallow", uneventful and even tedious phases in races in those days, and Monaco '78 was not a lights to flag thriller itself. Contrary to what some people might have you believe, processions are not a recent innovation....

The two Brabhams and Patrick Depailler's Tyrrell were clearly superior, and forged ahead into a race of their own, providing an absorbing three-way tussle.  Depailler constantly harried Watson, and the Frenchman drove with elan and panache, but also control and discipline.  The Brabhams may have been adversely affected by the weight and thirstiness of the Alfa engine, whereas the Tyrrell was more nimble and forgiving.

Eventually, Watson stumbled at the chicane after the tunnel, and Lauda was forced to pit for new tyres, leaving Depailler to proceed in relative comfort towards his maiden triumph. Lauda's difficulties were the springboard for a spirited recovery drive, with the Austrian's car assuming some very unorthodox angles, perhaps one of the least "Lauda-esque" displays of his entire career. His audacious manoeuvre to pass Jody Scheckter in front of the pits was especially impressive.

In the end, though, it was Depailler's day, and few would have begrudged him his moment of glory. This was a fully merited victory, although as it transpired the Tyrrell team was unable to build on it to any meaningful extent.

Watching the race was a very useful and enjoyable exercise, providing a snapshot of a time of change in Grand Prix racing.

Golden Era?

In a recent interview, Fernando Alonso suggested that the 2012 driver line-up will be the strongest in the history of Formula 1, with six world champions on the grid, and other notables such as Massa and Webber also out there.

This claim has also been advanced by some fans and members of the media, but does it stand up to scrutiny?  Whilst statistically the CVs of the class of 2012 will make impressive reading, other factors need to be examined.

Two of the six champions in the field will be Michael Schumacher and Kimi Raikkonen.  The German cannot be said to be at his peak, whilst the Finn is returning from an F1 hiatus.  There is also an argument for saying that the statistical accomplishments of drivers in this current era are distorted by the polarisation of resources, and therefore success, amongst two or three teams. Smaller grids also mean that there are fewer also-rans diluting the quality of the grid.

So which other periods in F1 history can claim to have had comparable, or superior, depth of driving talent?  Well, the mid-to-late 1970s, prior to the retirement of James Hunt and Niki Lauda, were very strong in this respect. In addition to Lauda and Hunt, we had Mario Andretti,Carlos Reutemann, Ronnie Peterson, Jody Scheckter, Clay Regazzoni, Patrick Depailler, Carlos Pace, John Watson and others. The racing at this time was fantastically competitive, and the victories were therefore spread around more, meaning that many careers left more of an indelible mark in the minds of fans, rather than in the record books.

Similar claims could be made for the 1960s and early 1970s, the "Jim Clark" and "Jackie Stewart" eras, and of course the issue of safety has also to be taken into account when making an assessment. Careers tend to be longer nowadays, cars are more reliable and there are more events on the calendar.

In truth, it is very difficut to make a direct comparison, because racing has changed out of all recognition over the decades, but I would simply counsel caution over possibly inflated claims made about the quality of the current grid. By any objective standard, it is indeed a formidable line-up, but people would also be well advised to consult the history books in order to acquire some perspective....

Arturo Merzario

I make no apologies for admitting that the 1970s is my favourite era of Grand Prix racing. Charismatic drivers, technical diversity, competitive racing and evocative circuits all combined to produce a heady brew. A driver who epitomised that era was the diminiutive Italian, Arturo Merzario.

Thin and wiry, and often to be found wearing his trademark cowboy hat, "Little Art", as he was known, made his F1 bow in 1972 with Ferrari, having already been a member of the Prancing Horse's sportscar team. He became a more prominent feature of the outfit in 1973, and he manfully struggled on as they encountered numerous problems throughout that season, displaying more resilience than the disgruntled number one driver Jacky Ickx.

When Ferrari's racing activities were overhauled at the end of 1973, it seemed very unjust that Merzario was overlooked in favour of Niki Lauda and the returning Clay Regazzoni. The Italian's chances of a frontline F1 career disappeared with that reshuffle.

The remainder of Merzario's F1 journey was fascinating, and invariably entertaining. A year with Frank Williams' Iso Marlboro team contained some characteristically plucky drives, particularly in qualifying at Kyalami, as well as a famous Armco hopping escapade during the Spanish Grand Prix at Jarama. Also during the mid-Seventies, Little Art enjoyed some notable sportscar successes with Alfa Romeo.

Arturo also gained wider fame as one of those, along with Brett Lunger, Guy Edwards and Harald Ertl, who rescued Niki Lauda from his blazing Ferrari at the Nurburgring in 1976.

Further F1 adventures with Wolf-Williams and March, and guest appearances with Copersucar and Shadow, were followed by the ill-starred decision to form his own team. This stumbled on throughout 1978 and 1979, before Merzario finally called time on his F1 career.

Arturo Merzario may never have won a Grand Prix, but he remains a much-loved figure, as one of the most redoubtable and admired drivers in a golden era of motorsport.