In 1966, director John Frankenheimer turned out a pair of films that could not possibly be more different in subject matter and execution: Seconds and Grand Prix. Frankenheimer did not want to make Grand Prix, but was forced by the studio to do so after Seconds died a miserable death at the box office.
Grand Prix, on the other hand, was a tremendous hit, and remained Frankenheimer’s most financially successful film until 1998’s Ronin. The script by veteran playwright Robert Alan Arthur (who co-wrote All That Jazz with the late Bob Fosse), ultimately focuses too much on the soap-opera level problems of the drivers and their families, but it’s when the film gets on the racetrack that Frankenheimer and cinematographer Lionel “Curly” Lindon (who did a season as Night Gallery‘s director of photography) blindside you.
When faced with the challenge of filming a lengthy race in such a way to make it interesting for film audiences, Frankenheimer decided he wanted to have the camera become part of the actual race, so he and Lindon designed a special camera and harness that could be attached to the front driver’s-side of the car, giving the illusion that the viewer was riding on the hood during the race.
You’ve seen this same shot about a million times over the years in every car chase that’s been filmed. You have John Frankenheimer and Lionel Lindon to thank for it. Until Grand Prix, no director had ever attempted to film a race or chase in this manner; nowadays, a director would feel like a fool not to include at least one such shot in an action film.
Running Time: 179 min.
Director: John Frankenheimer
Screenwriters: John Frankenheimer, Robert Alan Arthur
Cinematography: Lionel Lindon
James Garner: Pete Aron
Eva Marie Saint: Louise Frederickson
Yves Montand: Jean-Pierre Sarti
Toshiro Mifune: Izo Yamura
Brian Bedford: Scott Stoddard
Jessica Walter: Pat Stoddard
Antonio Sabato: Nino Barlini
Francoise Hardy: Lisa
Adolfo Celi: Agostini Manetta
Claude Dauphin: Hugo Simon
Enzo Fiermonte: Guido