I like the storyline of this show,it attract me so much

Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

By the time the dramatic fireworks start popping off, each one feels earned.

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.

The early 1960s saw the beginning of a rivalry between two competing films set amongst the world of Formula One. Lee H. Katzin's Day of the Champion, starring Steve McQueen, was to focus on a particularly gruelling 24-hour race, France's Le Mans, while John Frankenheimer would shoot Grand Prix, a luxurious ensemble piece boasting a handful of the industry's biggest names, on 70mm Cinerama, in what would be one of the final films to showcase the technique before it became defunct. It was a race to hit the cinema screens first, with both movies experiencing issues during production. Day of the Champion would later be re-titled Le Mans, and wouldn't see a release until 1971, a whopping five years late. Grand Prix emerged as the winner, winning multiple Academy Awards in the technical department and boasting racing scenes that haven't been matched since.While Le Mans' focus was solely on the racing, Grand Prix has larger ambitions. On top of a number of extended racing scenes, the story also gets bogged down by various melodramatic sub-plots involving a few of the drivers and their romantic engagements. Our main heroes are Jean-Pierre Sarti (Yves Montand), a French multiple champion reaching the end of a decorated career; Pete Aron (James Garner), an American looking to salvage his career after he signs up with Yamura Motors; Nino Barlini (Antonio Sabato), an arrogant but promising rookie who plays second fiddle to Sarti; and Scott Stoddard (Brian Bedford), a British driver looking to get back behind the wheel following a horrific crash. Away from the track, their personal lives resemble a soap opera. Aron grows close to Pat (Jessica Walter), Stoddard's estranged wife, while the married Sarti embarks on an affair with American journalist Louise Frederickson (Eva Marie Saint).This is the sort of lavish, star-studded production that was so common in the 1960s, offering a new familiar face in what feels like every scene. There's also an international flavour to the impressive cast, with the likes of Adolfo Celi, Toshiro Mifune and Claude Dauphin popping up, to name but a few. The hysterical dramatics drag the running time to just shy of three hours - complete with intermission - and Grand Prix ultimately succeeds on the strength of its racing scenes alone. Strapping a camera on top, on the side, and seemingly everywhere but underneath the vehicle, Frankenheimer thrusts you straight to the head of the action. Also employing split-screens, this is one of the most dazzlingly stylish films of its day. Despite not being a Formula One fan in the slightest, I found the time spend on the track exhilarating. The growls of the engines combined with the angles of the camera place you front and centre, almost as if you were right there behind the wheel. As a pure thrill ride, it's one of the very best, it's just a shame that we have to sit through 90 minutes of melodramatics in between.www.the-wrath-of-blog.blogspot.com

Grand Prix is Frankenheimer's visually stunning, almost visceral film about life in mid-sixties Formula One, with a musical backdrop provided by Maurice Jarre.Pete Aron (Garner) is a journeyman driver and the film mostly follows his life in racing; kicked out of one team for causing a crash, he attempts to find a new team and most doors are closed in his face. In the meantime the lives of other drivers are followed; the tormented Scott Stoddard (Bedford), the young gun Barlini (Sabato) and the cynical veteran Sarti (Montand). Their careers in racing are counterpointed by the women they love, and the events in their personal lives. Lovely ladies Eva Marie Saint, Jessica Walter, Genevive Page and Francoise Hardy play wives and love interests.Many then current GP drivers make cameo appearances, with Graham Hill having a small speaking role. Ritchie Ginther plays a character, but is addressed by is real name in one scene. To fit in with real GP footage also used in the film, the fictional drivers and cars are made to look like real ones, and drivers such as Jackie Stewart (as Bedford couldn't drive!) and Phil Hill (camera car) drove for the film.This film was always intended to be a visual spectacle first and foremost, and it is. Stunningly shot in cinerama, many novel shooting techniques and almost surreal editing techniques were used in motor racing for the first time; short of being there and driving one, you arguably couldn't get a better impression of what it is like to drive a 1960s GP car than to watch the footage of Monaco.Circuits visited include Monaco, Clermont-Ferrand, Spa-Francorchamps, Zandvoort, Brands Hatch, and Monza; a feast for vintage F1 fans.At first distrustful of the film's effect on the reputation of the team, upon seeing a test reel, Ferrari became co-operative with the film-makers and allowed shooting in the Modena workshops that prepared the race cars. Other cars used in the film included F3 cars that were made up to look like F1 cars. If you know what you are looking at, you can tell, but if you don't, it is utterly convincing.The filming of the racing scenes is presented in a variety of different ways, and a frenzy of activity is presented in a way that has an almost dream-like quality. It reminds me a little of the later 'Battle of Britain' film in this respect. Next to the stunning visuals, the plot and the characterisations were always going to come second place, and they do. The film is criticised for the characters being two-dimensional; part composites of real characters, mostly made up for cinema, they perhaps seemed exaggerated and far-fetched. However none of the events portrayed is completely absurd, and nearly all of them happened at various times either before or after the film was made.The fictional Yamura team is clearly based on Honda, who had won their first GP in 1965. There were of course many terrible accidents at this time in F1; there were even accidental prangs during filming, which if caught on film, were written into the script.The words in voice-over (and I paraphrase) "If you thought about what would happen if you hit a tree at 150mph...you would never get into a racing car again..." seem remarkably prescient; Jim Clark, arguably the greatest greatest racing driver ever, (who briefly appears as himself in the film) died by hitting a tree at 150mph just a couple of years later.Despite its shortcomings, it is easily the best film about motor racing ever made. It is now available in restored form, in DVD and Bluray formats.Fantastic! 10/10!

The lives, loves and motivations of 3 racing car drivers mark this excellent 1966 film.James Garner seems to be a has-been driver after he is accused of injuring another driver in a race.Yves Montand is another driver who has second thoughts about driving and is pursued by American reporter Eva Marie Saint. Saint, as she did as Kitty Fremont in 1960's "Exodus," is traveling and working in Europe in order to forget a failed marriage. Of course, in "Exodus" she had been widowed before meeting Paul Newman.To add insult to injury, Garner falls for the wife of the man he supposedly injured. She has broken with her husband over his racing, but feels it is different with Garner.The racing sequences are most exciting. Montand, in a loveless marriage with a woman whose sole interest has become their business relationship.Tragedy mars Garner's ultimate win.