Reception
Upon its 1966 release, Bosley Crowther called the film "a smashing and thundering compilation of racing footage shot superbly at the scenes of the big meets around the circuit, jazzed up with some great photographic trickery...Mr. Frankenheimer belts you with such a barrage of magnificent shots of the racing cars, seen from every angle and every possible point of intimacy, that you really feel as though you've been in it after you've seen this film. Furthermore, the director and Saul Bass fill that mammoth screen from time to time with multiple graphics and montages that look like movies at a world's fair. Triple and quadruple panels and even screen-filling checkerboards ... hit the viewer with stimulations that optically generate a sort of intoxication with racing. It's razzle-dazzle of a random sort, but it works." However, Crowther concluded "the big trouble with this picture...is that the characters and their romantic problems are stereotypes and clichés....You come away with the feeling that you've seen virtually everything there is to see in grand-prix racing, except the real guys who drive those killer cars."
Forty-five years later, upon its release on Blu-ray Disc, The New York Times reviewed the film again, with Dave Kehr saying "considered purely from a technical point of view, the new disc is a beauty, with crisp, richly textured images that do justice to the original 65-millimeter Super Panavision format, and a roaringly dimensional soundtrack...As a movie, though, Grand Prix was never that grand. First shown as a reserved-seat, road-show attraction in Cinerama theaters, it is little more than a 176-minute version of the roller-coaster ride This Is Cinerama that introduced the format in 1952, a high-speed tour of the principal stops on the Formula One tour, with the spectator, as often as possible, strapped into the driver's seat."
Read more about this topic: Grand Prix (1966 film)
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