{"id":17115,"date":"2010-11-11T10:03:22","date_gmt":"2010-11-11T10:03:22","guid":{"rendered":"http:\/\/www.influx.co.uk\/wordpress\/?p=17115"},"modified":"2022-06-28T12:35:38","modified_gmt":"2022-06-28T11:35:38","slug":"grand-prix-1966","status":"publish","type":"post","link":"https:\/\/www.adrianflux.co.uk\/influx\/features\/grand-prix-1966\/","title":{"rendered":"Grand Prix, 1966"},"content":{"rendered":"

There’s been a lot of stuff written about Le Mans<\/a>, Steve McQueen’s 1971 classic portrayal of endurance racing. Sure, it was a brilliantly gritty portrayal of the scene and featured the Coolest Man in the World. But for us, Jon Frankenheimer’s 1966 feature Grand Prix<\/em> does all the things that Le Mans<\/em> does, but slightly better and with an understated style.<\/p>\n

With a budget of around nine million dollars and some of the most incredible action photography ever shot: the film’s look and feel was augmented by maestro of the title sequence Saul Bass<\/a>. And though the plot line and the acting, even from non-professional driving stars like James Garner is fundamentally hokey – it matters little.<\/p>\n

Because what you’re really watching this movie for three other things: the brilliant titles and graphic montages; the power and the glory of the action sequences; and last but no means least, the beautiful, ear-splitting sound.<\/p>\n