Jacques Tati's "Trafic" from 1971: Monsieur Hulot Infiltrates the Car Industry

Director and actor Jacques Tati made his last appearance as Monsieur Hulot in "Trafic", released in 1971, around 18 years after his first appearance in "Les Vacances de M. Hulot" ("Mr. Hulot's Holiday"). In between those cinematic bookends, his famous tan raincoat and well-worn brown hat got plenty of wear, along with his umbrella. In "Trafic", Tati, who had tackled the perplexities of modernism in "Mon Oncle" and "Playtime", sends Hulot into the heart of the auto industry.  Somehow it seems appropriate that a culture that gave us flying CItroens with hydropneumatic suspensions (see above) would also give us an offbeat perspective on the car industry itself... 

It may be significant that in French back then, trafic signified some kind of racket or illicit trade.  The English meaning of traffic was connoted in French by la circulation.  In the title shot above, graphic designer Michel Francois signals the director's focus on the automobile's often zany effects on modern life.  The scene behind the title shows men working in a stamping plant making car bodies.

In the plot, Hulot has somehow gotten a job as an industrial designer for a fictional car company named Altra, a company that has assigned an American publicity agent, Maria (Maria Kimberly) to shepherd Hulot's new model to a car show in Amsterdam.  In keeping with the nomadic spirit of the era, he sketches out a whimsical little van for le camping.  Though Tati's critique of materialism is less sharply-focused here than in "Mon Oncle", perhaps because Europe and American were still in the afterglow of Woodstock Generation hippiedom, he shows how the revolution symbolized by camper vans could be commercialized.  Features of his little car include faux wood paneling in American style...  

…and a skylight over the sleeping space in the rear.  Along the route to the auto show, the crew gets help loading and unloading their van into Altra's transport vehicle. Not surprisingly, they get detoured by misadventures, including a flat tire and running out of fuel.

After transport driver Marcel breezes through Belgian customs without stopping, the little van is impounded by police, who suspect that it has been stolen.  Among the features of his design that Hulot demonstrates to cops and to Marcel is this grille that folds down into an actual grill, perfect for barbecuing steaks or burgers whilst involved in le camping.  

The police are impressed with all the features tailored to a life of le camping, but don't release the van until the next day, when the proper paperwork arrives.

Maria, who has run ahead to catch a preview of the auto show, returns and picks up Monsieur Hulot and they continue to follow the transport in Maria's yellow runabout (a Siata Spring 850) accompanied by her little pooch. They get involved in a chain-reaction car wreck in a roundabout, Hulot helps out an accident victim, and then they need to get repairs made. While that's happening, someone steals Maria's dog as a gag, and by the time the pooch is returned, they are running seriously late...

By the time they arrive a the Amsterdam show, all the exhibits are being dismantled, and Maria realizes she'd gotten the closing date wrong. It seems that Maria's talent for disorganization matches Hulot's own, and that the two characters are, as the French would say, sympathique...

Hulot investigates one of the last standing exhibits of a DAF 55, a non-fictional car from a Dutch company that today makes trucks.  He gets into the show stand car...

Then discovers it's a cutaway display rotating on a spit like a roasted chicken. Meanwhile the Altra company director discovers that his belatedly arriving team has been billed 300,000 francs for their non-existent exhibit, and fires Hulot.  It appears that Maria is now out of a job as well...

The two escape into a pouring rainstorm under Hulot's umbrella.  Director Tati gives us shots of comic interactions in the passing cars, including a couple whose hand gestures match the rhythm of windshield wipers, and Hulot and Maria draw together as they scoot in front of a rare Lancia Fulvia Zagato.  Though Tati has always been skeptical of the effects of cars on society, he's always managed to find choice cars for filming.

By the film's final scenes, Hulot and Maria are escaping the rains together after running the wrong way down a subway exit, and it's clear they're happily on their way somewhere that is not inside the auto industry. Director Tati's concluding scene, though, is of cars jammed into what looks like permanent gridlock, going nowhere, the result of the industry's and the advertiser's dream of offering Everyman his own private locomotive.  It's a gently funny movie, in a different spirit than the subversively comic "Mon Oncle", and without the often riotous hilarity of "Playtime", At release time, the New York Magazine critic Judith Crist praised "Trafic" for being a "non-blockbuster", and Tati's little road trip of misadventures still feels that way.

Photo Credits:  

All scenes from the film, including the initial publicity shot of the flying Citroen DS, are from Films de Mon Oncle and Les Films Corona.

Forgotten Classics: Giugiaro's Taxicabs—A Checkered History

In the mid-Seventies, the Museum of Modern Art commissioned Giorgetto Giugiaro of Ital Design to design a prototype for a modern taxi. MOMA's home city was by then known for its clogged streets and familiar yellow Checker cabs.  Not surprisingly, Giugiaro came up with something completely different. With the cooperation of Alfa Romeo, he created a 5-passenger taxi in 1976 that measured 158" long, a whopping 46" shorter than the familiar Checker.  Power came from a fuel-efficient 1.3 liter boxer 4 cylinder driving the front wheels, with independent suspension front and rear. The Alfa shield grille shape is subtly (maybe too subtly) worked into the 5-mph bumper at the front.

Innovative features included wide, sliding passenger doors on both flanks, flat floors, and wheelchair storage space under the seats. Giugiaro's MOMA taxi offered striking space and fuel efficiency advantages over other cabs, especially the Checker. Sadly, it didn't attract enough interest from potential customers to put it into production...

Not discouraged by non-adoption of his Alfa-Romeo MOMA cab, Giugiaro proposed the Lancia Megagamma van above in 1978.  Front wheels were again powered by a boxer four, but this time by the 2.5 liter SOHC Gamma unit.  Driver's cabin and luggage space were more ample than in the MOMA taxi, as the Megagamma van was just under a foot longer at 169.7".  Fuel tank and spare tire were located below the flat floor.  Drag coefficient was surprisingly low for such a cubic form, at 0.34. Fiat managment showed a lack of vision by deciding not to produce this van.  Six years later, Chrysler engineers would confirm the soundness of Giugiaro's concept, when their own front-drive minivans helped revive their company's fortunes.

This wasn't the first time that Giugiaro had been involved in a taxi project.  Eight years before the MOMA project, he had begun a complete restyling of the Checker cab for Alejandro De Tomaso after the sports car builder had purchased Ghia. The Checker project was continued under Tom Tjaarda after Giugiaro left Ghia to start Ital Design. The resulting '68 Ghia Centurion as completed by Tjaarda, above, shared the clean flanks and glassy greenhouse of Giugiaro's previous 4-door project, the Iso S4 below, but none of the iso's sleek proportions.  The tall roof and too-vertical angles of the Centurion's windshield and backlight made for plenty of space, and also concealed the car's great length, as it was on the 129" wheelbase option offered by Checker. Though the Centurion was more modern-looking than Checker's standard design, the company apparently decided it didn't offer enough advantages to put into production. 

That standard Checker design had been largely unchanged from the A8 model below, which went into production in January 1956.  

A8 advantages over the previous A6 model shown rushing down a film noir street below included 30% more interior space and easily removable fenders, an important feature in an environment conducive to fender benders...

Despite the proposals from Ghia for a more modern-looking Checker cab, and from MOMA and Giugiaro for a taxicab revolution, Checker's basic design from the A8 stayed in production until 1982, receiving quad headlights in 1958, with Chevrolet inline sixes and small-block V8s supplanting the Continental L-head six in 1965.  It was such a familiar shape on American city streets that it was likely what you thought of when you thought "taxi."

It was a blocky and unrefined shape, but it was a friendly one, especially when one answered your hand signal for transport on a freezing New Year's Eve in New York.  In fact, it was such a friendly-looking car that this example has taken advantage of that blockiness and been modeled in Lego components at Legoland New York, delighting children of all ages...

Photo Credits:  

Top thru 3rd from top:  wikimedia.com

4th:  allcarindex.com

5th:  Iso Rivolta, featured on story-cars.com

6th:  Checker Car Club, on checkerworld.org

7th:  imcdb.org

8th & bottom:  Dr. Marcus Nashelsky

Book Reviews in Brief: Source Material for Car Wonks & Historians

 

An old 1954 paperback copy of Ken Purdy's 1952 The Kings of the Road was this writer's intro to "serious" automotive literature (well, books on cars, anyway) around the time he became entranced by Road & Track after one formative year of living in LA (Dad and I loved it; pioneer cyclist Mom hated it) during the late 50s.  Purdy could effortlessly pull a grade-school kid into stories about Bugattis and Duesenbergs, of race driver Tazio Nuvolari, and how to avoid confusing Hispano-Suizas with Isotta-Fraschinis...

Borgeson and Jaderquist's Sports and Classic Cars appeared 3 years after Purdy's book, as the sports car boom was beginning to gather momentum in the US, and collectors were suddenly waking up to landmarks of design and engineering made during the interwar years that had sometimes been sold for scrap during WW2.  The photography is monochrome and sparse by modern standards, but the book is strong on history, and the specification tables at the end, covering Prewar Sports, Prewar Classic, and Postwar cars, are a valuable source of information.  If you want to compare engine specs., dimensions and prices offered by Lancia before and after WW2, for example, this book has you covered.

Wheelock-Freeman's Sports Cars appeared in 1955, the same year as the Borgeson / Jaderquist book, and while it has some specifications and prices, it focuses more on the visual impact of the cars. The Fifties marked the beginning of Italian dominance in industrial design as well as on the track, and Alexandre Georges covered then-new creations in color and monochrome photos.   As 1955 may have been a peak year for the number of sporting makes on sale in the US, you'll find chapters on etceterini like the Siata, exotics like the 4-cam V8 Pegaso from Spain, and on the Chrysler-powered Cunningham from Florida, which was then in its last year.  

The Sports Car Pocketbook, by Britain's WIlliam Boddy in 1961, proved to be a bountiful source of info on everything from the cyclecars of the Teens and Twenties to upper crust esoterica like the Brough Superior and the Lammas Graham, as well as cars considered modern at the dawn of the Sixties.  Specs. were provided for key models of each make, but the author had a special love for obscure club racers.  If you want to know how to tell a Senechal from a Salmson, Boddy's your man.

In The Great Cars from 1967, Ralph Stein wrote something that was almost as much a memoir of a life spent chasing classic cars as it was a depiction of the cars themselves. The depiction, though, was pretty riveting for a high school kid, including recollections of encounters with France's exotic Talbot-Lago, arcane English machinery like the Invicta and Frazer Nash, and better-known classics from Alfa Romeo and Mercedes-Benz.  The pages are splashed with color photos by Tom Burnside, as well as historic monochrome shots from races that were already decades in the past.  

The Cruel Sport covered an especially hazardous time in Formula 1 racing, when a driver's chances of survival were said to be not all that much better than in trench warfare.  Robert Daley created text and monochrome photos depicting the drivers, machines, factories and races that made the world of Grand Prix racing from 1959 through 1963, and later expanded to book to include the period through 1967, after the 3 liter cars had taken over from the 1.5 liter formula of 1961-'65.  It's stunning to page through this book and reflect that rollover protection was only introduced in F1 cars in the mid-Sixties, that seat belts were not required equipment until 1972, and to realize how many of these drivers were gone a few years after the original publication date.

In All My Races from 2009, Stirling Moss recalls details of all his races from the first, a victory in the Cullen Cup in a prewar BMW 328 on March 2 1947, to the last (race #585), when the driver who later became Sir Stirling crashed Rob Walker's Lotus 18/21 at Goodwood's Glover Trophy on April 23, 1962, ending his racing career and nearly his life.  In the intervening 15 years of race accounts, the greatest driver who never won a World Championship sheds some light on the people and machines who made the era what it was.

By the time G.N. Georgano released A History of Sports Cars in 1970, there was plenty of history ot recount, at a time when the freewheeling, innovative attitude that led to everything from the spindly voiturettes of the Twenties to the wild Lamborghini Miura of 1967, with its transverse mid-mounted V12 sharing its crankcase oil with the transmission, was about to give way to a world of safety regulations and environmental concerns.  Georgano documented the history with chapters covering Emergence through the Twenties, Thirties, Post War Recovery and Today (the Sixties), with a nation-by-nation treatment. The text is supplemented by monochrome and color photos, with coverage of specialist car makers as well as major producers, and the engineers and designers behind the ideas in what we can now see as a kind of golden age.   

Historians Richard Langworth and Graham Robson released their revised edition of their Complete Book of Collectible Cars in 1987, extending the scope to include cars built as early as 1930; the first version had started with 1940, and thus missed a herd of classics. It includes US as well as European makes, and is pretty complete, but because the writers focused on their idea of production cars, you won't find an OSCA or Gordini* in here.  For some reason, Bugatti and Delahaye are included, but not Talbot-Lago. And while the Datsun Z is in here, the Toyota 2000GT (already a collectible in the Eighties) is not, nor is the Honda S600/800 series. Still, it's remarkable how many times one finds oneself going to this book for production figures and dates, engine sizes, wheelbases and weights. 

Beyond the cars, this blog explores the architecture and cityscapes of the automotive era, and urbanists have written thoughtful studies of these as the present century approached.  As this is an election year when voters are considering (one hopes) serious questions of history and public policy, it might not be a bad moment to put in a plug for James Howard Kunstler's The Geography of Nowhere, from 1994, and his more hopeful Home from Nowhere from 4 years later. The first book details how the postwar growth of US suburbs led to placeless expanses of shopping malls and parking lots, old neighborhoods sliced up by freeways, and cities strangled by gridlock, and the second book explores how we might take steps to make our living places friendlier to each other and to the ecology of the only planet we know supports life...

*Errata: Owing the the uninvited and annoying interference of AutoSpell, "Gordini" was changed to "Gordon" without my noticing.  Wrong.  Britain's Gordon-Keeble was included in Langworth's book, while the French Gordini sports racers from the Fifties were not.

Boulder Classics and Coffee: The Usual Suspects + Porsche 912 Polo

Now that it's almost time for the last Classics & Coffee of the year on Sunday. October 27, we're finally getting around to reviewing September's gathering.  There were lots of old friends and increasingly familiar old cars,  a sign that the event now has lots of regulars...

...including this Bugeye Sprite heading up a row of Austin-Healeys.

Big Healeys were represented by a 100-6 with graceful body design by Gerry Coker, who also designed the Bugeye.  By the time the Bugeye appeared in 1958, Coker was surprised to see that BMC had deleted his retractable headlights as a cost-cutting measure that, ironically, gave the car its character and name.  By the time the less curvy Sprites like the red car above appeared in 1961, Coker had been working in America for 3 years.

This black Ferrari 355 is a reminder of what a loss it is that Pininfarina no longer designs or builds car bodies,  A mid-engined V8, it offered cleaner detailing than the previous 348 and was built from 1994 to 1999. 

Familiar faces include now-vintage BMW 3-Series, Alfa GTV6, Karmann Ghia VW, and a pagoda-roof Mercedes SL without its famous concave-surface hardtop in place.

Another familiar face from my neighborhood is this metallic yellow Alfa Romeo Type 916, a front-drive roadster never officially imported into the USA.  Featured in more depth in a previous post, the Pininfarina design was built in coupe and open forms, and the 916 series was offered from 1993 to 2004.  

A row of Brits includes the '76 Lotus Spring in the foreground, a Triumph Spitfire with Honda S2000 engine , a Triumph TR4A in white, and a yellow TR6.  The Lotus and Spitfire have been featured in earlier posts, but it's worth noting that the Lotus Type 907 engine was a pioneer of the 4-valves per cylinder twin-cam four in the US, and notable for making 140 to 160 hp from 2 liters.  Nearly a third of a century later, Honda's S2000 engine with 4 valves per cylinder could make 120 hp for each of its 2 liters.

A De Tomaso Pantera is a less-familiar visitor.  The black car with gold wheels is a reminder that Lincoln Mercury dealers sold a mid-engined V8 with Italian bodywork (designed by American architect Tom Tjaarda for Ghia) from 1971-'74. It's parked next to a red Ferrari Testarossa...

There were plenty of air-cooled Porsche 911s, but none pleased this writer as much as the 993 below.  Last of the air-cooled Porsches, the 993 was offered from January 1994 to early 1998, which has always seemed like a short run, considering that it smoothed out the visual hiccups in the original, like headlights that were neither vertical nor contoured into the fenders (see above), and finally integrated the 5-mph bumpers into the fenders and nose, avoiding the clunky look of 911 bumpers that arrived to meet US standards in 1974, and stayed until they were smoothed out a bit on the 964 in '89.  Another thing Porsche changed on the 993 was the Targa version, which substituted a smooth, coupe-like roof form with sliding glass roof for the visual interruption of the anodized B-pillar / roll-bar featured from 1965. This coupe specimen has an especially fetching form because it doesn't have the "wide body" option which involved increased rear track.  It's parked next to a Lancia Delta Integrale HF that we'd also like in our fantasy garage...

The other Porsche that attracted our attention was an early 912.  Well, sort of.  Designated a 912 Super, nothing like it was ever offered by Porsche.  It has a special 4-cylinder, twin-plug, 2.4 liter version of the air-cooled SOHC 911 engine designed and built by Dean Polopolus of Polo Motors in Temecula, CA.  The idea is to have 911 performance with handling more akin to the original 912, because the Polo engine weighs 100 lb. less than a 2.4 liter 911. The original weight difference between a standard 912 and 911 engine was 120 lb.

In addition to this engine, the Polo 912 has a number of other design tweaks to denote It's a special car, including the custom engine vent grille, 912 Super insignia, and flush-contoured license plate panel, and the piece de resistance, the "NO911NV" license plate.  At the front, you can barely see the specially contoured vent grilles next to the parking lights.

The label on the fan shroud tells the story of the Polo engine, which has been made in sizes from 1.5 to 2.4 liters.  As the engine alone costs around $30k, we wondered if an easier way to achieve more balanced handling in an air-cooled Porsche would be to simply find a nice example of the mid-engined 914-6, with near 50/50 balance.  Admittedly, you'd need to get used to the humorless, boxy styling of the 914, but then again, you're inside looking out when you're flinging a Porsche around a twisty 2-lane...

Another approach that occurred to us had appeared at a Classics & Coffee last year. Farland Classic Restoration in Englewood, CO converted a similar short wheelbase (87") 912 to a full electric power offering about 100 miles of range in normal driving.  One goal of the conversion was to avoid making structural changes, like cutting into the floor platform. As a result, as with Jaguar's prototype electric E-type conversion*, one could theoretically convert the car back to IC power.  But that's hard to imagine, as the 912 EV offers much better acceleration than the original along with better balance.  Also, you can keep shifting gears if you like. Unlike many EVs, the 912 conversion* uses the original 4-speed transaxle.  912s were also offered with 5 speeds.

Farland quoted a price of $45,000 for converting a 912 (or 911) like this one.  That's more than the roughly $30,000 you'd pay to buy a Polo engine for a 912.  But to make a fair comparison, the yellow Polo 912 features other impressive (and expensive) mods, and in either case you'd need to pay for a 912 to serve as your project base.  And two features of the Farland 912 EV jump out as advantages.  First, instead of just removing 100 pounds from the rearward weight bias, it changes the whole weight distribution from something like 40% front / 60% rear to the ideal 50/50.  Secondly, with the Farland approach you'll never need to stop at a gas station except to air the tires, clean the windshield or buy a chocolate bar...

*Footnote:  

The Porsche 912 EV was featured in our post for July 31, 2023.  Other classic conversions to electric power, including some Porsches and that Jaguar E-Type, are reviewed in "Classic Cars Go Electric", posted here on July 31, 2021. 

Photo Credits:  

All photos are by the author.

Monterey Car Week 2024: Hidden Treasures, and the Car Show on the Streets

A few days after the crowds and excitement of Car Week had faded, this writer was invited by architect friends of a friend to have a look at their car collection, tucked into a hideaway they'd designed for it.  It turned out to be a wide-ranging, eclectic selection of cars, all in fine condition. The Aston Martin DB4 first appeared in autumn of 1958, but the DB4 convertible took another 3 years to appear.  And though around 1,100 DB4s in five series would appear before the DB5 took over in fall 1963, Aston Martin Lagonda released only 70 of this convertible model.

The drophead car, like the coupe, had a body designed by Italy's Touring Superleggera, with aluminum panels attached to a tubular steel frame on a platform chassis.  During this period, Touring of Milan also made bodies using this system for Maserati and Lancia, but built only the prototypes for Aston Martin Lagonda, including for the related Lagonda Rapide sedan.  An intriguing design touch is the way the instrument binnacle echoes the Aston grille shape.  The engine was the 3.7 liter twin overhead cam inline six designed for the DB4 by Tadek Marek, and disc brakes were fitted front and rear.  Two events that helped AML's balance sheet by 1960 were the release of the DB4 and victory at Le Mans, the Nurburgring, and World Manufacturer's Championship in 1959 by their DBR-1 road racers.  

Another thing that would soon help the bottom line even more was the release of the DB5 late in '63, and its appearance with Sean Connery in Goldfinger in 1964.  By the time the DB6 showed up in autumn 1965 at the London Motor show, engine size had increased to 4 liters, with power ranging from 282 hp to 325 in the Vantage version.

By 1967, when this DB6 was built, Aston Martin's fame had expanded beyond a small group of sports car enthusiasts, and people like Brian Wilson of the Beach Boys and Grace Slick of Jefferson Airplane had this view (though from the other side).

The DB6 had a longer wheelbase than the DB4 and 5, at 101.7" vs. 98", which resulted in more rear seat legroom, while the revised fastback contour with tail spoiler gave more headroom and trunk space.  

At the other end of the size and complexity spectrum was this Mini Moke, a recreational and utility vehicle based on the pioneering BMC Mini, with its transverse 4 cylinder engine sharing its crankcase with the transmission.  This bare-bones concept of this car had enough appeal that it stayed in production from 1964 to 1993.  

Unlike the Mini Moke, the Aston Martin Vantage Volante below features microchips, driver and passenger air bags, and 4 wheel anti-lock brakes.  The prototype appeared in 2003, and credit for the sheer, disciplined design has been claimed by Henrik Fisker and Ian Callum.  This 21st century Vantage had a long production life, 2006 to 2018, and was offered in V8 and V12 versions.   

The first generation Acura NSX was offered from 1991 to 2005, with mid-mounted 3.0 liter V6 ( 3.2 liters after 1997).  The NSX was indirectly the inspiration for Gordon Murray's design for the McLaren F1 road car.  Murray used the NSX as his standard for chassis response, and asked Honda for a more powerful version.  They refused, but he bought an NSX anyway, and put almost 50,000 miles on it.

Three and a half decades earlier, the benchmark for responsive chassis behavior was the Alfa Romeo Giulietta.  The spider version first appeared in 1955, and this example is of that early 750 Series, originally with Alfa's magical 1,290cc DOHC aluminum block four, and the 86.6" wheelbase.  The 101 Series that appeared during 1959 had 2" more wheelbase, but similar nippy handling.

One way of telling the 750 Series from the 101 is that the 750 lacks the door vent windows of the 101, and also has the delicate oval tail lights shown below.  Alfisti seem to prefer the 750 spider to the 101. The chassis design achieved its great transitional response by simple means, combining a well-located live rear axle with drum brakes.  Bodies for the spider were designed and built by Pinin Farina. 

The streets and parking lots of Car Week are always a source of fascination for car wonks, and we encountered this Lamborghini Miura S in the parking lot in Seaside outside the Legends of the Autobahn* event. The S, introduced in November 1968, featured added creature comforts compared with the first Miura, 20 more hp, and bright metal trim around the windows and headlights.  This Miura S also had a feature of the later SV introduced in '71:  headlights lacking the "eyelash" trim of all other versions.  Maybe the headlight detail indicated this was a late Miura S.  No matter; in the view of this writer it exerted more visual magnetism that anything in the actual Legends show...

The total number of Zagato-bodied Lancia Appia coupes built from 1957 to '62 was 721, so Zagato Appias are even rarer than the Lambo Miura (763 or 764 built including all types).  The Appia GTE was the last type Zagato built, in light alloy panels over a steel frame, and the first to be listed as a production model by Lancia.  Earlier Appia Zagatos were custom built for privateer racers, like the early Alfa Giulietta Zagatos. The first GTEs were delivered in January 1959, and later versions, like this one, lacked the plastic bubbles over more forward-mounted headlights.  GTE production totaled 167.  Despite never having more than 60 official hp, Zagato Appias took 1st through 3rd places in their class at the '57 Mille Miglia. 

Unlike Zagato Appias from '57 and '58, the GTE lacked Zagato's trademark twin-hump roof, and the earlier cars' arched upper rear fender lines.   We happened upon this Appia GTE on a side street in Carmel...

We also found this 1929 Packard Dual Cowl Phaeton there, parked on Ocean Avenue.  The orange and chocolate brown color scheme was the original one, popular in this period, and the coachwork was by Dietrich.

The surprisingly narrow driver's compartment features distinctive instrument shapes in a polished wood dash.

Our first impression of the red car below was that it was a Ferrari 625 Testa Rossa from 1957.  This had been, Road & Track explained back then, Ferrari's econo-racer for privateers, and traded the 4 and 5-speed transaxles and DeDion rear end of their Monza model for a 4-speed gearbox directly behind the 4-cylinder, DOHC 2.5 liter engine plus a live rear axle...

But no, it was a replica of the original Scaglietti body design in aluminum, powered by a Dino V-6.  I talked to the builder, and he was looking for $800,000.  No wonder the red carpet; at least there weren't any oil spots on it.

This recent-model Aston Martin Vantage had been subjected to a neo-psychedelic makeover that, like the paint jobs commissioned by BMW decades ago from Alexander Calder for their CSL, managed to not only ignore the form and details of the car, but to work against them. 

This Citroen DS21 4-door cabriolet was claimed to be one of two; the coachbuilder was not stated.  Available history indicates that all cabriolets on the DS chassis by Henri Chapron were 2-door models.  This DS appeared at a number of events, and though we photographed it at the Little Car Show*, it didn't qualify, being not at all little, and having an engine size over the 1.8 liter limit. 

Also parked outside the official show was this Lancia Delta Integrale, The turbocharged, all- wheel-drive cars were never imported into the US, but gained fame in the World Rally Championship.  The cars were built with transverse inline fours up to 2 liters, in both 8-valve and 16-valve versions.

Lancia, whose HF series cars were so named because they were first offered to their most loyal customers (High Fidelity of a non-audio kind), retired from rally competition after 1991, when their Delta Integrale secured World Rally driver's and manufacturer's championships.

Two specimens of the new Lotus Emira stood outside the Little Car Show in Pacific Grove.  The Emira features a supercharged, mid-mounted Toyota V6, along with generous passenger and luggage space, something lacking in prior Lotus two-seaters.  Apparently, despite the dire drumbeat of the daily news, human progress occasionally occurs...

*Footnote:

Out post on the Legends of the Autobahn show appeared on Aug. 31, 2024 as "Autobahn Oldies and Missing Legends", and "A Big Show of Little Cars in Pacific Grove" appeared on Aug. 25, 2024.  

Photo Credits:

All photos are by the author.

\