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The Guardian
2 hours ago
- Entertainment
- The Guardian
Less death, more social media: Formula One films decades apart reveal a changed world
'Let's try to get the season off to a good start, shall we? Drive the car. Don't try to stand it on its bloody ear.' Have you watched the movie? It's about a rule-breaking American Formula One driver, the kind who blows past blue flags and crashes into his own teammate. You must have heard of it. They shot it in real race cars, across some of the most prestigious circuits in the world. It even had contemporary world championship drivers making notable cameos on the track. If you've never watched 1966's Grand Prix, now is the time to do it. This summer's blockbuster slot may belong to F1; and its director, Joseph Kosinski, may have gone to extraordinary lengths to capture the visceral speed of the fastest class in motor sport. But John Frankenheimer got there first. The close parallels between the two films have gone largely unremarked in the reviews. Six decades ago, when the glamour of the sport was peaking, Frankenheimer set out to capture its thrill, daring and inescapable danger. He fixed cameras to the chassis of Formula Two cars – the same substitute Kosinski has used – that hared round Brands Hatch, Spa, Monaco. Like Kosinski, he spliced real race footage into his own. His American lead, James Garner, did his own driving, just like Brad Pitt. There are even occasional shots in Kosinski's film that seem to pay tribute, intentional or not, to its predecessor – the moment that recalls Frankenheimer's stylistic use of split-screen, or when Pitt jogs around the old Monza banking. F1 the Movie, to be clear, is a billion-dollar industry giving itself a full valet – shampooed squeaky clean and buffed to an impossible sheen. But it's also the kind of sports-washing I'm prepared to indulge for the sake of the pure adrenaline thrill. After watching Top Gun: Maverick at the cinema, I walked straight back in for the next screening and sat in the front row so I could pretend to be in the cockpit. At the Imax this week I was practically climbing into the screen. I was definitely the only woman my age leaning into the turns, and wishing they would stop cutting back to Pitt's face so that I got more track time. For a bit of perspective, I had gone with my father, a man with a decades-long following of motor sport and a habit of nitpicking at movie details. Ten minutes into F1's opening track sequence he leaned over, and I braced for a critique of the pit crew's refuelling technique. 'We can go home now,' he whispered. 'It's good enough already.' A movie that can impress my father with its motor racing action deserves all the hype it gets. But neither he nor I had anticipated just how much it would remind us of Grand Prix – or how well that 59-year-old work would stand up in comparison. The Silverstone marching band, paraded past the clubhouse by a moustachioed sergeant-major, has given way to night-race fireworks in Las Vegas, and the ruinous cost of running an F1 team has jumped from a few hundred thousand to £100m. The stomach-buzz as the asphalt whizzes beneath you remains the same. Putting the two stories side by side does, however, show you interesting ways the sport has changed. Grand Prix's opening lingers, fetishistically, over images of working pistons and twisting wrenches. Such lowly mechanical details are almost entirely absent in F1, where the team headquarters looks like a space station and every element of the engineering process is rendered in gleaming sci-fi. There's also a lot less death. Frankenheimer's crashes are genuinely shocking – not because the stunts are realistic (and they are) but because of the bluntness of their outcome. Drivers are catapulted from their seats to fall on whatever part of the landscape they meet first. Spectators aren't safe either. The fact that horrifying incidents are a part of the public's fascination with Formula One is a recurring theme. F1 still plays on the life-or-death stakes, but does it in a very different way, as you'd expect from a film licensed by the governing body as a big-screen advert for the sport. It's also pretty keen that everyone you meet on screen shows motor racing in a good light. Team principals are loving family men! Drivers' managers are cuddly BFFs! People cycle eco-consciously to work! Everyone is so empathic and good at giving advice! It was the latter that had me balking at the chutzpah. There's a point where our hero tells the rookie to stop thinking about his social media. The hype, the fan engagement – 'it's all just noise,' he says. This in a movie that was produced, at phenomenal cost, as a method of growing hype and fan engagement. The film's only baddy, meanwhile, is a corporate investor, who we know must be a bad 'un because he spends his time schmoozing The Money in hospitality. Here's a game for you when you're watching F1: try to go two minutes without seeing or hearing the name of a brand that's paid to be there. I left the auditorium still blinking the name of accountancy software. By contrast, Frankenheimer's film seems bracingly honest. In Grand Prix, the drivers may have moments of self-reflection but they're also uncompromisingly selfish in their pursuit. The philosophical Frenchman Jean-Pierre Sarti suggests they live in denial: 'To do something very dangerous requires a certain absence of imagination.' 'Why do we do it? Why not tennis, or golf?' It's the question at the centre of every motor-racing film. In Le Mans, Steve McQueen answered by stripping out everything but the sound and feel of the track. F1's hero describes the feeling when he's 'flying' (not for nothing does he arrive walking down the tarmac, carrying a duffel like a certain fighter pilot). Perhaps that's what makes motor racing ripe for big-screen treatment – it's the most literally escapist form of sport there is. If F1 gives it the glossy treatment, Grand Prix sees beneath the sheen.
The Guardian
8 hours ago
- Entertainment
- The Guardian
Less death, more social media: Formula One films decades apart reveal a changed world
'Let's try to get the season off to a good start, shall we? Drive the car. Don't try to stand it on its bloody ear.' Have you watched the movie? It's about a rule-breaking American Formula One driver, the kind who blows past blue flags and crashes into his own teammate. You must have heard of it. They shot it in real race cars, across some of the most prestigious circuits in the world. It even had contemporary world championship drivers making notable cameos on the track. If you've never watched 1966's Grand Prix, now is the time to do it. This summer's blockbuster slot may belong to F1; and its director, Joseph Kosinski, may have gone to extraordinary lengths to capture the visceral speed of the fastest class in motor sport. But John Frankenheimer got there first. The close parallels between the two films have gone largely unremarked in the reviews. Six decades ago, when the glamour of the sport was peaking, Frankenheimer set out to capture its thrill, daring and inescapable danger. He fixed cameras to the chassis of Formula Two cars – the same substitute Kosinski has used – that hared round Brands Hatch, Spa, Monaco. Like Kosinski, he spliced real race footage into his own. His American lead, James Garner, did his own driving, just like Brad Pitt. There are even occasional shots in Kosinski's film that seem to pay tribute, intentional or not, to its predecessor – the moment that recalls Frankenheimer's stylistic use of split-screen, or when Pitt jogs around the old Monza banking. F1 the Movie, to be clear, is a billion-dollar industry giving itself a full valet – shampooed squeaky clean and buffed to an impossible sheen. But it's also the kind of sports-washing I'm prepared to indulge for the sake of the pure adrenaline thrill. After watching Top Gun: Maverick at the cinema, I walked straight back in for the next screening and sat in the front row so I could pretend to be in the cockpit. At the Imax this week I was practically climbing into the screen. I was definitely the only woman my age leaning into the turns, and wishing they would stop cutting back to Pitt's face so that I got more track time. For a bit of perspective, I had gone with my father, a man with a decades-long following of motor sport and a habit of nitpicking at movie details. Ten minutes into F1's opening track sequence he leaned over, and I braced for a critique of the pit crew's refuelling technique. 'We can go home now,' he whispered. 'It's good enough already.' A movie that can impress my father with its motor racing action deserves all the hype it gets. But neither he nor I had anticipated just how much it would remind us of Grand Prix – or how well that 59-year-old work would stand up in comparison. The Silverstone marching band, paraded past the clubhouse by a moustachioed sergeant-major, has given way to night-race fireworks in Las Vegas, and the ruinous cost of running an F1 team has jumped from a few hundred thousand to £100m. The stomach-buzz as the asphalt whizzes beneath you remains the same. Putting the two stories side by side does, however, show you interesting ways the sport has changed. Grand Prix's opening lingers, fetishistically, over images of working pistons and twisting wrenches. Such lowly mechanical details are almost entirely absent in F1, where the team headquarters looks like a space station and every element of the engineering process is rendered in gleaming sci-fi. There's also a lot less death. Frankenheimer's crashes are genuinely shocking – not because the stunts are realistic (and they are) but because of the bluntness of their outcome. Drivers are catapulted from their seats to fall on whatever part of the landscape they meet first. Spectators aren't safe either. The fact that horrifying incidents are a part of the public's fascination with Formula One is a recurring theme. F1 still plays on the life-or-death stakes, but does it in a very different way, as you'd expect from a film licensed by the governing body as a big-screen advert for the sport. It's also pretty keen that everyone you meet on screen shows motor racing in a good light. Team principals are loving family men! Drivers' managers are cuddly BFFs! People cycle eco-consciously to work! Everyone is so empathic and good at giving advice! It was the latter that had me balking at the chutzpah. There's a point where our hero tells the rookie to stop thinking about his social media. The hype, the fan engagement – 'it's all just noise,' he says. This in a movie that was produced, at phenomenal cost, as a method of growing hype and fan engagement. The film's only baddy, meanwhile, is a corporate investor, who we know must be a bad 'un because he spends his time schmoozing The Money in hospitality. Here's a game for you when you're watching F1: try to go two minutes without seeing or hearing the name of a brand that's paid to be there. I left the auditorium still blinking the name of accountancy software. By contrast, Frankenheimer's film seems bracingly honest. In Grand Prix, the drivers may have moments of self-reflection but they're also uncompromisingly selfish in their pursuit. The philosophical Frenchman Jean-Pierre Sarti suggests they live in denial: 'To do something very dangerous requires a certain absence of imagination.' 'Why do we do it? Why not tennis, or golf?' It's the question at the centre of every motor-racing film. In Le Mans, Steve McQueen answered by stripping out everything but the sound and feel of the track. F1's hero describes the feeling when he's 'flying' (not for nothing does he arrive walking down the tarmac, carrying a duffel like a certain fighter pilot). Perhaps that's what makes motor racing ripe for big-screen treatment – it's the most literally escapist form of sport there is. If F1 gives it the glossy treatment, Grand Prix sees beneath the sheen.
Yahoo
20-06-2025
- Business
- Yahoo
World's first Aframax tanker with wind-assisted propulsion delivered
Classification society Lloyd's Register (LR) has announced the successful delivery of Brands Hatch, which is claimed to be the world's first newbuild Aframax tanker equipped with wind-assisted propulsion. Built by Shanghai Waigaoqiao Shipbuilding for Union Maritime, the 114,000DWT Brands Hatch vessel features three 37.5m tall WindWings by BAR Technologies. These sails are designed to adjust intelligently for optimal aerodynamic efficiency, offering additional thrust that can reduce fuel consumption and carbon emissions. BAR Technologies CEO John Cooper said: 'The WindWings equipped vessel forms part of UML's broader energy transition strategy, and the success of this project paves the way for additional vessels of similar size and configuration under LR Class. 'This includes another with the same owner, ship type and technology that is already underway at Yangzijiang Shipyard, with WindWings again manufactured by China Merchants Energy Tech in Shanghai.' The WindWings system has demonstrated potential daily fuel savings of up to 14.5t and CO₂ emission reductions of up to 45t under ideal conditions. Annually, the tanker is expected to save approximately 12% on fuel, which translates to nearly 5,000t of CO₂ savings. LR provided comprehensive technical services from the design stage to the vessel's delivery. This included Approval in Principle, HAZID/HAZOP processes, and design appraisal. Furthermore, LR ensured the WindWings installation complied with strict safety standards and coordinated with flag authorities. The classification society's involvement continued through to the supervision of installation and sea trials, affirming the system's effectiveness and the vessel's seaworthiness. LR lead specialist Tony Han said: "As the first vessel in China to be equipped with the wind-wing system, LR has provided a comprehensive range of technical services to our clients. 'From drawing approvals to commissioning tests, LR has demonstrated its strong technical expertise in supporting the client. Building on the success of this project, we are looking to expand our collaboration with clients regarding the application of this new technology in the ship industry.' BAR Technologies received the Bureau Veritas Type Approval Design Certificate for its WindWings system in May. This certification endorses the WindWings for fleet integration and affirms its structural integrity, performance reliability, and commercial readiness after a thorough review process. "World's first Aframax tanker with wind-assisted propulsion delivered" was originally created and published by Ship Technology, a GlobalData owned brand. The information on this site has been included in good faith for general informational purposes only. It is not intended to amount to advice on which you should rely, and we give no representation, warranty or guarantee, whether express or implied as to its accuracy or completeness. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site. Sign in to access your portfolio
Daily Mail
20-05-2025
- Automotive
- Daily Mail
EXCLUSIVE Roaring around Brands Hatch in McLaren's £250,000 Supercar... Mail Sport's HEATHER DEWAR learns all about the need for speed from one of motorsport's top teams
Mail Sport's Heather Dewar was invited to spend some time with McLaren at Brands Hatch earlier this month and experienced first hand the speed and thrill of the race... I'm sitting in a McLaren supercar, about to set off on a hotlap, when the driver pauses momentarily. 'How do you switch this on?' he laughs. It's my first time on the track at Brands Hatch, first time in a McLaren Artura Trophy EVO. I don't think I can help him. 'Have you driven one of these before?' I ask nervously. 'Nope,' he smiles. 'Never!' And so it was, that I gleefully started my inaugural lap of the famous former Grand Prix track in Kent; my French driver adapting with astonishing speed to the tarmac before him. If I had a grin on me, the length of the Tiber, there was very good reason. The car handles magnificently, taking on corners with supreme agility, while roaring seamlessly away in speeds up to 160mph. This McLaren is not only ridiculously sexy, it's also unbelievably good fun. And very, very fast. With speeds of up to 160mph, the supercars are certainly not for the faint-hearted 'Well done, Artur,' I exclaim, smiling, as I come to the end of my lap. Not bad for a first attempt. In truth, the ride has been brilliant. Quite simply, it's easy to see why this car is attracting a legion of young drivers - all eager to take part in the McLaren Trophy Europe. The event, now in its third series, pits pros against pros, and pros alongside amateurs in a single-make championship. It's an innovative format, so I'm here to find out more about what makes the competition tick. First port of call is Maurice Henry, a 22-year-old who has just been taken into McLaren's Trophy Academy. For Henry, racing cars has never been about Formula 1. He knew early on that there were other areas of manoeuvre - with GT racing (Gran Turismo) at the heart of it. Having recently entered this exclusive club, he laughs heartily as he eyes up the challenge ahead. The Academy - which takes on just 13 drivers - is essentially a talent pool for those under the age of 26. Those involved are entered into a development programme with the British manufacturer, with the ultimate goal of becoming a fully-fledged McLaren factory driver. 'To have your name against such a prestigious brand and to get the recognition, it's mind-blowing,' says Henry. 'In Motorsport, there are so many barriers to entry. That's what makes it so hard. We don't come from a wealthy background. My dad works as a telecommunications consultant. He had to sacrifice everything to get me here. Sell assets, cars, take out a loan. Everyone thinks you just turn up and drive, but I'm working really hard behind the scenes to make this all happen.' Henry partners up with Fiona James this season, the only female competing in the McLaren Trophy Europe. When we meet, there has been an issue in qualifying. Problems with their car mean that they don't finish Saturday's event - and Henry will therefore miss his chance to race. The youngster, however, is philosophical. 'That's motorsport,' he reflects. 'We go again tomorrow.' It's clear from the outset that Henry has the utmost respect for his amateur co-driver. Now into her second series, James is an established figure on the circuit having competed in multiple events. A breeder of Olympic and Paralympic dressage horses, the amateur is well accustomed to fierce competition - and set up Walero clothing (named after Active Walero, who competed in the 2004 Athens Games) for motorsport enthusiasts after seeing a gap in the market for temperature-regulating base layers. Her branding now sits proudly on her rented McLaren, a constant reminder of ambition and success. 'I remember my dad watching F1 when I was a kid,' she tells me, 'but it just never occurred to me that cars and racing was something anyone could do. 'I didn't know about this whole world outside of F1. I liked cars, and eventually I got a nice Turbo 996 Porsche, so I thought I should really go and learn how to drive it safely without killing everyone around me. I went for a lesson on track, and the instructor just said I had a feel for it. He asked me if I had ever thought about racing. 'I eventually got the bug for it, worked my way up, did a lot of GT stuff - and then heard about the McLaren series. McLaren are doing so well at the moment, and they're just so professional. They're amazing to work with. In terms of the car itself, the EVO feels like a proper race car.' James, whose mum was half Scottish and grew up in Dundee, is a product of her own success - but given the lack of women in the event, just how realistic is it really for others to follow in her footsteps? 'Women can absolutely compete on an equal-footing with men here,' she says. 'Only a few sports allow this - sailing, equestrian, motorsport among them. It's so important to have spaces where genders can showcase their strengths alongside each other. 'For me, the experience of racing has been mostly positive, but as a woman in motorsport, you often have to prove yourself twice as much as a man. 'Mistakes are less easily forgiven, and you're scrutinised more closely. That said, things have improved a lot since I started. There are far more women competing and working behind the scenes, in roles like engineering, strategy, and technical support. 'However, I still often find myself the only woman on track. Reactions to that vary depending on where you are. In the UK and Europe, people are often surprised to learn I race - especially when they learn that I race against men. 'In the US, though, it's a different story. People are more accepting and simply ask what car or series I race in. It's not unusual for me to be mistaken for my co-drivers' mum or guardian when signing on, or for people at the track to assume my other half is the one racing.' Rob Bell, McLaren Motorsport's Sporting Director, believes times are changing when it comes to females taking part but insists that integration from the bottom upwards is key. It's a central theme, too, for their McLaren Trophy Academy. 'There's definitely a place for more women,' says Bell. 'There is no reason whatsoever that women cannot be competitive in any field of motorsport. We're open-minded to anything. 'McLaren is a one-piece automotive company. The heritage is there and motorsport is an integral part of that. 'You might say there's one division of Formula 1 and motorsport, but actually, it's one group. It's McLaren. That's it. We like to think that if you can buy into that, especially as a young driver coming through, that gives you the confidence and that feeling of belonging, being part of something. 'Where the academy comes in, for example, is that you're on the ground level of learning, learning your craft in our cars. We held a welcome event at the MTC recently, where we invited everyone to come and we did a parade from Woking to here at Brands Hatch. 'As a young individual, that's not something that's offered to everyone. We have 13 drivers in our Academy, and mentality, positive attitude, is a huge part of that. It's trying to make sure that at the end of the year, if nothing else, they're a better, well-rounded, more educated driver than they were when they started with us.' With its new car, McLaren hope to entice a new generation of fans and if the on-road hybrid version is anything to go by, that shouldn't be too difficult to achieve. Having been let loose behind the wheel for a few hours pre hotlaps (all £220,000 of it), I can attest to its ability to attract whoops of excitement from those watching from the sidelines. Whatever way you look at it, the McLaren Artura has the 'wow' factor in spades. It's the only car I've ever been in where people grab for their phones as you quietly approach. Where kids shout loudly: 'Rev the engine!' and where cars of all shapes and sizes let you pass with dignity and grace - almost bowing in acknowledgement of McLaren's fine engineering. Add to that the inevitable association with two of the 'coolest' sport stars on the planet - Oscar Piastri and Lando Norris -and it's easy to see why the younger generation are similarly enamoured. They just 'get' the appeal. By the end of the weekend, Piastri and Norris land a 1st and 2nd place at the Miami Grand Prix. It's another boost for the manufacturer - who lead both the Drivers and Constructors championships. They're a much-respected duo. Tales abound of Norris mingling regularly with staff at the MTC (McLaren Technology Centre). 'Top Bloke' is widely whispered - while kids and adults alike are full of praise for the Aussie, Piastri. McLaren hopes to attract more people to motorsport - and the supercars have the wow factor James and Henry, meanwhile, pick up the Papaya Cup after impressing on Sunday's outing. A new award for the 2025 season, it recognises the achievements of Pro-AM and Am drivers over a certain age - or with limited race experience. Their victory - like that of Piastri - will be celebrated by the entire McLaren family. As the weekend at Brands Hatch comes to a close, I notice a sign set high above me in McLaren's hospitality. Glowing brightly in papaya orange, it reads simply: 'Live Life Like It's Your Last Lap'. It feels particularly pertinent, in a world whose axis spins so radically, on the wheels of success. 'You're thrown right in the deep end for this,' admits Henry. 'Last night, I got sent a manual. I did my homework, was trying to understand the controls. I didn't even know how to start the car. That's exactly what you've got to do now when you're expecting to turn pro. Just jump in the car and see what you can do.' His words linger as I wave goodbye to the dispersing crowds, the smell of burning rubber, and the clink of parts being dismantled. What a great analogy for life.
Arab News
07-05-2025
- Automotive
- Arab News
Rallying-'Mr Dakar' Peterhansel returns with Defender for 2026
Brands Hatch (England): Al-Manar Racing by Team WRT's Al-Faisal Al-Zubair and teammate Jens Klingmann delivered a sensational performance to win the second of the one-hour Sprint races at the opening round of the 2025 GT World Challenge Europe powered by AWS Sprint Series at Brands Hatch in England on Sunday. After finishing fifth in the first of the two short races, Al-Zubair and Klingmann delivered a masterclass in pit strategy to kickstart their season in the new series with outright victory in the Gold Cup category and sixth position overall in Sprint Race Two at the helm of the Al-Manar Racing by Team WRT BMW M4 GT3 EVO. Al-Zubair said: 'Starting off doing very minimal laps in the Sprint Championship was something to get used to. Brands Hatch is such a difficult track, and we didn't have much running time. There were a few red flags in practice. I think we did a total of 20 laps before we got into qualifying. It was not so easy. 'We started off with qualifying on the wrong foot. We finished fifth in class in the first race and then we won the second race. To jump so many people in the second stint and in the pit stop is something that we should be very happy of. It is good to get a start like this, and we can look forward to the rest of the season.' Al-Zubair began the opening one-hour Sprint race from sixth on the Gold Cup grid but was not able to make headway through the opening laps. Arthur Rougier drove the Emil Frey Racing Ferrari to give the CSA Racing McLaren a brief lead, but Chris Lulham hit the front again in the Ferrari after the mid-race pit stop and driver change. Klingmann took over from Al-Zubair with the sole target of moving up the field, and he managed to sneak ahead of James Kell in the CSA Racing McLaren following the driver changeovers after 23 laps. Lulham continued to lead from Louis Prette in the Garage 59 McLaren as the opening Sprint race headed into its closing stages and on to the checkered flag. Klingmann held on to secure a fifth-place finish for the Al-Manar Racing by Team WRT BMW after 42 laps of racing. Race Two took place in similar cool and overcast conditions in the afternoon. Klingmann took the wheel for the first stint and quickly settled into fourth place behind the Emil Frey Racing Ferrari, the Sainteloc Racing Audi and the Tresor Attempto Racing Audi. Full course yellows failed to prevent Klingmann from maintaining his position, but the damage was done at the driver changeover when the Al-Manar Racing by Team WRT delivered the strategy to perfection and Al-Zubair hit the front. The Omani continued to lead from the defending champions, Sainteloc Racing, and overcame another full course yellow to win Race Two with a margin of just under three seconds to Thierry Vermeulen and Lulham in the Emil Frey Racing Ferrari 296 GT3 after 37 laps. Al-Zubair and Klingmann carried out free practice on Saturday morning and ran the Al-Manar Racing by Team WRT BMW for 30 laps. The team carded a best lap of 1 minute 24.186 seconds that put them fifth of the Gold Cup runners. The Emil Frey Racing Ferrari topped the times with a tour of 1 minute 23.178 seconds. Pre-qualifying was next on the agenda, but the Al-Manar Racing duo could only manage a best lap of 1 minute 24.720 seconds, and the bragging rights from the Gold Cup session went to the Garage 59 McLaren with a time of 1 minute 24.122 seconds. Qualifying was split into two sessions, and Al-Zubair managed six laps in Q1. The Omani carded a best tour of 1 minute 24.626 seconds, and that put him in sixth in the stint, with Thierry Vermeulen winning Q1 for Emil Frey Racing with a lap of 1 minute 23.374 seconds. Klingmann fared slightly better in Q2 and was classified fifth in the Gold Cup runners with a best lap of 1 minute 24.012 seconds, with Lulham winning the stint for Emil Frey Racing to claim pole position for the first of the two one-hour Sprint races. Action in the GT World Challenge Europe Sprint Series continues at Zandvoort in the Netherlands on May 16-18.
