MN’s columnist-at-large has been glued to the small screen
There are positives to all these lockdowns: people get out more, all that exercise. People avoid eye contact with you in the fear that you might be part of that 94.1% who doesn’t have it and might contract it at any second. And one has a justification to watch whatever you want and not feel guilty. I do hope Den and Angie Watts get back together…
Two weeks ago we stumbled across Le
Mans on BBC2, Steve McQueen’s awesome movie filmed in 1970 but released in ’71.
Last year, understandably, the race organisers the Automobile Club de l’Ouest was championing its virtual Le Mans 24
Hours but the film is something that played a massive part in the awareness of the race and even now is very watchable. Perhaps, even, it is better now thanks to nostalgia and with the sights and sounds of 1970s sportscar racing so well documented, it is a brilliant time machine to hop aboard.
Of course, it oh-so nearly became a disaster. McQueen, riding high on the back of Bullitt, could do no wrong in Hollywood and this movie was his baby, his project. Having finished second in the Sebring 12 Hours in 1970, despite his foot in plaster from a motorcycle accident, McQueen was barred from racing at Le Mans by the movie’s distribution company for fear that the film’s big star would be injured.
Stung by that, and missing out on a drive in the race, McQueen set out to prove himself to the real drivers who were involved in the driving sequences. He wanted to do as much driving himself as possible and wanted the film to be as realistic as it could, again to show the real drivers, his heroes, that he was serious about motor racing.
And this is where the rot set in with McQueen wanting to document the race and the magic of Le Mans and Hollywood wanting a story, a plot. Cars driving round for 24 hours does not make a happy movie executive. and by 1932 James Cagney was in The Crowd
McQueen wanted his character, Michael Roars, focusing on American racing. There Delaney, to lose: his favoured scriptwriter was The Green Helmet in 1961 that starred, Alan Trustman said that Delaney needed among others, Sid James, but the best yet to win the race. Trustman’s movie career came in 1966. Celebrated director John ended in a meeting that discussed that Frankenheimer filmed Grand Prix, which had very point. He never worked in films again… both real footage, onboard cameras and a Director John Sturges walked out as the plot as it focused on disillusioned French ace shambles around him ensued, Derek Bell had Jean-Pierre Sarti wrestling his fears over a fiery incident when doubling for Siegfried safety, Pete Aron lurching from Jordan-BRM Rauch (Erich Stahler) in a Ferrari 512 and to the media and then to Yamura to win the David Piper had his huge accident that cost title at Monza as Sarti perishes, plus Jim him a lower leg after his Porsche 917 crashed Clark-lookalike Brian Bedford as Scott for reasons unknown. Part of the theory was Stoddard who returns to the cockpit after a low tyre pressures as the crew had been huge Monaco accident.
sitting around waiting as with no script and It takes a few liberties here and there but no plot they didn’t know what to do next. the footage makes up for it. Spa in the wet, McQueen had to forego any financial the original Spa, is a highlight and makes involvement in order to get the picture you understand why Jackie Stewart became finished but 50 years on its contribution to such a crusader for safety.
motor racing is immense. You cannot go to It was everything Rush wasn’t. It was Le Mans and not hear the film in your head real. It felt real and looked real with and the range of McQueen/Gulf-Porsche/ Frankenheimer’s attention to detail Delaney merchandise is a booming market. making sure that everything worked.
And how many Monacos did Tag-Heuer sell Unlike Rush, circuits weren’t passed off as when it relaunched the watch in 2003, others as he included real footage from McQueen having worn one in the movie? the 1965 season, and while I grant you that Motor racing movies weren’t new by 1971, recreating 1976 four decades later is hard,
however. A number had been attempted, Rush took so many liberties that they may even as far back in 1913 when Fatty Arbuckle as well have started with a made-up plot appeared in the silent film The Speed Kings anyway. Still, non-motor racing fans seem to like it so who are we to argue?
And what about Le Mans ’66, the new kid on the block? It’s long and starts badly with factual inaccuracies over Carroll Shelby, but it gets better and better. Christian Bale is excellent as Ken Miles (who finally gets overdue recognition) and although it is a bit too long, it is a watchable film, which has recreated Le Mans from the period incredibly well.
But, what if you only have time for one film before you dash off for your jab? It has to be
Le Mans. Those first 30 minutes, devoid of proper dialogue but full of atmosphere, engine noise and atmosphere is enough to make you want to prolong any lockdown.
“Perhaps Steve McQueen’s Le Mans is better now thanks to nostalgia”