Synopsis
The most daring drivers in the world have gathered to compete for the 1966 Formula One championship. After a spectacular wreck in the first of a series of races, American wheelman Pete Aron is dropped by his sponsor. Refusing to quit, he joins a Japanese racing team. While juggling his career with a torrid love affair involving an ex-teammate's wife, Pete must also contend with Jean-Pierre Sarti, a French contestant who has previously won two world titles.
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Cast
- James GarnerPete Aron
- Eva Marie SaintLouise Frederickson
- Yves MontandJean-Pierre Sarti
- Toshirō MifuneIzo Yamura
- Brian BedfordScott Stoddard
- Jessica WalterPat Stoddard
- Antonio SabàtoNino Barlini
- Françoise HardyLisa
- Adolfo CeliAgostini Manetta
- Claude DauphinHugo Simon
Recommendations
- 91
The A.V. Club
Whenever the cars are running, Grand Prix is one of the best studio efforts of the '60s. The film only stalls when it's off the track, which is where more than half of this three-hour epic takes place. - 90
IGN
Grand Prix is not just a wonderful 'race movie'; it's a brilliant cinematic achievement, period. - 90
The Telegraph
Grand Prix is possibly the greatest motor racing film of all time. - 70
Variety
The roar and whine of engines sending men and machines hurtling over the 10 top road and track courses of Europe, the US and Mexico – the Grand Prix circuits – are the prime motivating forces of this actioncrammed adventure that director John Frankenheimer and producer Edward Lewis have interlarded with personal drama that is sometimes introspectively revealing, occasionally mundane, but generally a most serviceable framework. - 63
USA Today
The drama sputters through a 70-minute second half. [14 July 2006, p.4E] - 60
The New York Times
It's razzle-dazzle of a random sort, but it works.The big trouble with this picture is that the characters and their romantic problems are stereotypes and clichés. - 60
Time Out
Probably the best of the formula motor racing films, though that isn't saying much. Too long, and the bits in-between are the usual soapy off-track drama. - 50
TV Guide Magazine
Frankenheimer pulls out all the stops to lend excitement to the racing footage--splitting the screen into ever smaller increments, mounting cameras to the cars to get shots taken inches above the track, and using slow motion--but ultimately his obsession with technique becomes wearying, and the plot is simply not interesting enough to stand on its own.
