Word: formulas
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Dates: during 1960-1969
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GRAND PRIX. With the help of Cinerama, Metrocolor and Super Panavision, Director John Frankenheimer has captured much of the excitement-and all of the noise-in last year's nine-race Grand Prix competition for Formula One racing cars. Top billing goes to Yves Montand, James Garner, Eva Marie Saint and Francoise Hardy, but the true stars are the cars, performing in some of the most spectacular sequences ever filmed of metal in motion...
Other California savings-and-loan executives testified that they had heeded Baker's formula for political activism. Stuart Davis, chairman of the board of Los Angeles' Great Western Financial Corp., related that in October 1962 he had toted $50,100 in cash in two envelopes to Washington-only to sit around his hotel room for three days waiting for Baker to return his call. Finally, said Davis, "I received a telephone call, saying he'd like to come down to my hotel and see me." Davis said that he got the two envelopes out of the hotel...
Grand Prix. The Formula One is the thoroughbred of racing cars. Nothing on wheels is quite so sophisticated. Formula Ones can cost up to $100,000 to build, and as much again to maintain for a single racing season. Twelve feet long and elegantly slender, they look like bright green, blue, red, purple dragonflies perched on fat black feet. Though the cars weigh a mere 1,100 Ibs., their three-liter engine develops more than 375 h.p., and they can dart down a straightaway at better than 200 m.p.h. At full bore, a Formula One handles so neurotically that...
...next season at eleven Grand Prix courses.* Last season, as the top drivers varoomed the circuit, they were tailgated by Director John Frankenheimer and 16 camera teams. By season's end, at a cost of $7,500,000, Frankenheimer & Co. had shot 1,000,000 film feet of Formula One racing-some of it real, some of it rigged, all of it in Metrocolor of admirable luster. Out of this ava lanche of acetate, the director has constructed a motion picture that crams the supercolossal Super Panavision screen with some of the most spectacular pictures ever taken of metal...
Given that script formula is a standard and perhaps valid dramatic device to facilitate the presentation of exciting material, Grand Prix's evil is not so much that it is an old-fashioned formula picture, but that it bungles the job miserably and wallows for 2 1/2 of its 3 hours in its own plot complications. Arthur spends too much time on his dreary characters, barely managing to solve their problems and tie-up the loose ends for the finish. He introduces an English driver (Brian Bedford) who competes neurotically to break the track record of his dead brother...