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Undescribable Perfection

Best movie ever!

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I haven't seen very many movies about car races, which makes John Frankenheimer's "Grand Prix" all the more impressive. The characters' relationships with each other aren't the most impressive, but the movie's editing and cinematography is something to behold. Some of the scenes are shot from what one might call the car's point of view. Think about it: looking straight ahead while going at a higher speed than most cars ever reach.So, the plot probably won't appeal to everyone, but the racing scenes are to die for. You gotta see the movie just for those.Jessica Walter sure was a babe back in the day.

I'm a big fan of director John Frankenheimer's work and I think he's made some of the best action sequences in Hollywood. GRAND PRIX is his racing car drama that sees ROCKFORD star James Garner involved in a terrible accident on the track which causes his career to spiral out of control before he makes efforts to turn things around. The story suffers from a huge amount of long-winded relationship drama; the running time is near enough three hours and easily half of that running time could have been excised in order to focus on what's important; namely, the racing scenes. These are superbly staged and as good as they come. Frankenheimer refused to shoot his car races slow and speed them up, rightly believing the effect looked fake, so what you see here is all real. Garner did his own driving and the camera follows him every inch of the way. Frankenheimer captures the speed and excitement perfectly and his use of in-car cameras reminds one of the energy of something like BEN HUR's chariot race. You can tell this is the same guy who shot RONIN thirty years later. It's just a pity that the rest of the story is so sluggish and manages to waste the star calibre of somebody like Toshiro Mifune.

I have loved this movie since I was ten years old. Las night I was watching it again for the nth time, and behold!!!! the engines on the cars are fake!!! I could not believe my eyes!! They mix real life shots with the real cars, but when they do the close ups with the drivers.. the engines are fake!! I can only imagine that there were safety and logistical reasons for this. After all I don't think any of the actors were capable of actually harnessing one of these babies...Am I the only one to notice this??/Check the Ferrari, The scene where it stalls at Monza, its the real car. you can see all the details of the engine from the rear take, then compare with the cockpit shots, amazing!

Pete Aron is a Formula One driver who crashes at the Monaco Grand Prix, wrecking his race and nearly killing his teammate. Thrown out of the team, it looks like his motorsport career might be over until he is offered a new contract from an unlikely source ...Formula One is the sport I follow, and I am attracted to it for the same reasons as most people I guess, primarily the vicarious thrill of seeing someone drive as dizzying speeds. This movie does a good job of exploring why that holds such fascination for both drivers and fans alike, and contrasts it with the bloodthirsty gawkers and the dog-eat-dog tactics of the teams. The racing sequences are simply outstanding, with amazing shots from the cars' points of view and incredible footage of the actors racing at high speed (Garner did a lot of his own driving). Shot in Super Panavision 70 with spherical lenses and a 2.20:1 aspect ratio by Lionel Lindon, and often using multiple images and intricate cut wipes, these scenes burst across the screen and are every bit as thrilling as a real F1 race. Where the movie literally slows down however is in the inter-race intrigue, which, while nicely played by the talented cast, sometimes descends into soap opera - the heel sleeping with another man's wife, the burned-out former champion who doesn't know why he still does it, the injured driver with an axe to grind, the young kid on top of the world. The people are worth caring about but their personal lives are too clichéd and the ending is perhaps telegraphed too clearly. Frankenheimer's attention to detail is excellent, and the cars are wonderful, but the script could use some tuning and the movie some pruning. From an F1 history buff's perspective however, the movie is nirvana - it mixes some actual footage from the 1966 season, substitutes real racing drivers for the actors/stuntmen, (notably the unrelated Phil Hill and Graham Hill) and features such classic circuits as Brands Hatch, Spa (the old ten-mile country circuit), Monaco, Monza, Watkins Glen and Zandvoort. In the end there is a lot to enjoy in this movie - the racing is fabulous, the cast is terrific, the sixties sensibility is fun, the direction is top-notch and the photography is breathtaking. It's also a potent reminder however of how appallingly dangerous motorsport was in this period of almost no safety standards, prior to the work of people like Jackie Stewart, Niki Lauda and Sid Watkins, and even in the modern era the danger in F1 is still terribly real, epitomised by Jules Bianchi's tragic crash at Suzuka in 2014. This is a great old racing flick and one which would make an excellent double bill with the near-plot less 1971 Lee H. Katzin / Steve McQueen film Le Mans.