Solemplex To me, this movie is perfection.

Salubfoto It's an amazing and heartbreaking story.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Kinley This movie feels like it was made purely to piss off people who want good shows

agig This movie does not age well. Though Paul Newman's acting is very good, the same cannot be said of some supporting actors. Richard Thomas is unbearably bad as a kid who wants to emulate his dad—at one point he gets in the cockpit and just looks, well, retarded. Clu Gulager is a bad imitation of Smokey Yunick. The writers and director seem to have a vague idea what racing is about, but mostly they get it all wrong. This movie was made after John Frankenheimer's 1966 brilliant film Grand Prix. It utilizes many of the same camera and editing techniques and even the music is at times reminiscent of Maurice Jarre's utilizing a soft guitar for romantic moments, coupled with empty track shots, etc. etc. Winning saving grace is it's period racing shots and we can get a glimpse of how it was like at Indy in 1968. But the editing is really poor, some action shots are sped up (which just kills any serious car movie). In the sixties it was cool for a leading man to do a racing movie, then get into the real thing after the shooting wrapped. McQueen did it, James Gardner did it and Paul Newman did best by actually becoming a racing man's racer. All in all it's a pale imitation of Frankenheimer's Grand Prix, and I can't help thinking how the latter film might have been even better with Paul Newman starring.

Nazi_Fighter_David Newman is a successful driver who marries a small-town divorcée (Joanne Woodward), soon after they've met… As usual, he devotes too much time to his career and ignores everything else, and, as in "From the Terrace," Woodward turns in desperation to another man—here a rival driver (Robert Wagner). Newman finds them in bed, and becomes estranged from her (again, as in "From the Terrace"), but after winning the big race, he realizes his life is empty, and attempts a reconciliation (the theme of the "winner" who's really a loser).The relationship is superficially written, but Newman and Woodward make us care about it… Their first film together since "A New Kind of Love," it's their best since "The Long Hot Summer." They exude a naturalness, intimacy and spontaneous affection that one suspects come from their own feelings for each other… It is apparent in their first scene, where he is slight1y drunk, delightfully playful, and confident (but no longer unpleasant) in his attempt to pick her up; and she responds with smiles and applause at his tricks with a fireman's hat, but looks slight1y uncertain about this glamorous stranger… Following their wedding, they sit on a swing, drinking beer from cans, talking and laughing quietly… She describes her previous loneliness, and he responds, typically, "Beer's a lot less complicated." They smile, she rubs his back and leans her head on his shoulder: these are people who really know each other, and who have attained a maturity about themselves… Newman exhibits this maturity throughout… His loose, casual style, evident in "Cool Hand Luke," has given way to an almost complete mellowness… Perhaps because of the confidence gained from his directing experience, he has gotten rid of his mannerisms; and except for the intense determination he shows while racing, he's more relaxed than ever before… Although the script tells little about his past, there's a wealth of experience etched into his face, especially in his brilliant, silent reaction to finding the couple in bed—one of quiet resignation that suggests a lifetime of pain and frustration… Newman has many fine scenes of quiet underplaying: his camaraderie with Wagner early in the film; his solitude after the race; his genuine warmth in the relationship with his stepson (Richard Thomas). The scenes in which they drink champagne and come home drunk together project for the first time in Newman's career a really paternal feeling—only vaguely suggested in strikingly similar scenes in "Hud."

justimagine Taken as a whole, this does not measure up to Newman's later works, but that's not his fault. The story is a weak and draggy at times. Certainly it's not "The Verdict", but then it's not meant to be. It is what it is, a pretty basic story about a race car driver and his relationships; between he and his distant wife, his teammate (and again, his wife) and his stepson. The uneven pacing almost sinks the film as a whole, though the supporting cast is pretty ace. But forget all that for a moment.For race fans the vintage footage alone is worth the price of admission...Can-Am cars at Elkhart Lake open the show and Indy closes it. Great stuff! What makes it all really work is that PLN did his own driving and it's clear he is enjoying himself and is right at home in the car, not shoehorned in like a Burt Reynolds or Tom Cruise or Sly Stallone. He is a RACER, and it shows. Plus the ending is classic Newman; you just don't know what's going to happen next, and you WANT to know.Also recommended: "Grand Prix" and "Le Mans".

Jonathan Doron The feeling I had during the movie is: this could have been better if it was totally different: More relations between characters and less cars. And even when there is a race, we get weird 60's shots of people not even watching the race. How about more about the rivalry between Newman and Wagner. What does Joanne do- is she a housewife, raising by herself a child since he was three? Richard Thomas (Charlie) and Newman should have had more scenes before Charlie is sad of the breakup; I would have been sad losing a father like Newman, but we should see why Charlie is sad. Newman puts as much character to Frank as the script allows. Too long, not too predictable (not that there are any big surprises, other than the credits coming a bit early in the last scene). Paul and Joanne are great together, see Mr. and Mrs. Bridge (1990).