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Touches You

Simply Perfect

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Just like any "gear head" film, the humans are always supporting cast. The real stars are the cars. Within the first 21 minutes, you will see plenty of classic race tracks, cars, motorcycles, trucks, socket wrenches, loud pipes, race posters, cool sunglasses, beautiful girls, and everything else that excites the average auto buff. Yes, the acting isn't great, but do you really care about Caan's love life more than that beautiful split-window '63? Of course not. This movie was made in the heart of the 1960s, the genesis of true sports cars. There are other gear films out there that are better, but 7000 is worthwhile.

This film is said to be minor, but the opposite is true. It is absolutely masterly how Hawks tells his story and paints an archetypal portrait of the U.S.A. in the sixties. The racetracks with the cars circling in endless rounds symbolize the circle of life: the drivers who die in a car crash are replaced by new drivers who get also in accidents, the girlfriends of the drivers are left by them just to find a new driver to cling to. The drivers look alike, the girls are all alike, nobody is sticking out. Everything in this world is superficial and on the outside. The brands are everywhere in the movie: Ford, Pepsi, Holiday Inn. The dialogs get to the point fast, there is not a word too much. It is an extreme economy of storytelling. The camera by Milton Krasner is fantastic. Howard Hawks loved car races, he drove races himself, even constructed a car. He absolutely knew what he was talking about.

I saw this film several years ago. The racing footage is great. It starts out with the 1964 Daytona 500 and it was so neat to see the cars on the pace lap before starting the race, which in real life was rather dull unless you're a Richard Petty fan... The only problem is that the racing footage is far and away the strength. Most of the rest of it is garbage! The best part of the non-racing football is a young lady in a club singing a song about a racing driver, complete with the sound of a racing car at the beginning. To me, this movie was dull (between shots of the racing footage). One part I remember is one of the women, on top of a guy in bed saying "Tell me what a sexy woman is!" I find it rather odd that she doesn't know what one is... Like I said, the racing footage is good, but you can get films of races for that. Don't waste your time on this turkey. You have better things to do!

Although well intended, this is a real melodrama, a tale of the daring, reckless, untamed men of stock car racing and the women who love them... oh, please. The racing sequences are good, but these guys are pulling stunts that would have made even early NASCAR officials nail them to the wall. Caan's acting is good, but he's not yet the fantastic actor we know today. He does well with the often stilted dialogue, some of which has gaps you could drive a truck through. MST3k material. Gail Hire (Holly) has a voice that makes Lauren Bacall sound like Minnie Mouse...You haven't lived until you've heard her baritone song/rap "Wildcat Jones" and seen George "Mr. Sulu" Takei dancing the Pony. This film is funnier than it was ever meant to be... and in ways I doubt Howard Hawks ever intended.