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Professional daredevil and white-suited hero, The Great Leslie, convinces turn-of-the-century auto makers that a race from New York to Paris (westward across America, the Bering Straight and Russia) will help to promote automobile sales. Leslie's arch-rival, the mustached and black-attired Professor Fate vows to beat Leslie to the finish line in a car of Fate's own invention.Written by
Jeanne Baker <email@example.com>
A moose head hangs on the wall of Professor Fate's (Jack Lemmon) dining room, but when the Professor and Max run out the front door you can see that the rest of the moose stands in the foyer, with just his head poking through a hole in the wall. Ernie Kovacs originally did this gag on one of his TV shows. Lemmon was a great friend of Kovacs and used this gag in the film. See more »
When Fate first reveals the Hannibal Twin 8 to Max, the camera pulls back to a wide shot. To change from the dramatic lighting of the close up, you can see many more off-camera lights being switched on to light up the entire garage for the reveal of the car. See more »
Master of Ceremonies:
[addressing the crowd]
Ladies and gentlemen, you are about to witness the most spectacular feat ever attempted by the greatest daredevil in the world: The Great Leslie!
[the crowd cheers]
Master of Ceremonies:
He will be strapped in a straightjacket before your very eyes and lifted up into the clouds where eagles soar and no sparrow dares to venture!
[the crowd murmurs]
See more »
Jack Lemmon is only credited as Professor Fate and not for his second role as Crown Prince Hapnik. See more »
The Great Race was licensed for showing in the Soviet Union in 1965. However, the whole episode where the race is going through Russia was cut. The Soviet authorities took it as a mockery of the 1908 Russian people. See more »
Now I've read most of the comments on this film and while I might agree with some of the more specific comments regarding the looser and less plausible plot in the last third of the film and that Natalie Wood might have been more of a contribution and less of a distraction, these are moot points. The film is funny, enjoyable and a great tribute to the heyday of silent villains and heroes in a way that doesn't overdo it. Curtis' flashing smile, Wynn's turn-of-the-century mechanic character, the harried and frazzled O'Connell as Goodbody, and especially Falk's on-again, off-again sycophant/lackey/nobody's fool Max are memorable and fun. But as much as I like the main movie, my fave bits are the early scenes in which Professor Fate, always in black and macabre emblems, tries to outdo the stunts of the gleaming white, perfect and popular Great Lesile Gallant III. The stunts are fun, witty and totally unbelieveable. The plane pickup, the rocket train, the garishly painted torpedo with a mawkishly wonderful gramaphone speaker on top are priceless Victorian images of a time that we all imagine existed but never really did. Lemmon is a gem as Fate, right from the great use of his eyes under thick brows and black hat, to the spooky house in his own Munster's décor to the crème de la crème, the Hannibal Twin 8 race car. That car is a masterpiece of mechanical and artistic design. I wonder where it is now. Even the sound it generates in the film, that sinister and harmonious hum are perfect for Fate's élan.
What I've never understood is why I never heard more of Lemmon's comments on this film. It had to be fun to make and work with Curtis, but the role of Fate is so underrated. You never see it mentioned in Biography or any anthologies of Lemmon's work. I still roll in peals of laughter at his dizzy 'Let's see the Great Leslie try THAT one on for size...' as he passes out in the mud. Or when Max breaks off the moustache in the freezing storm, and all you see is Fate's astonished look of shock followed by a sideways glare that could cut glass. The last part of the film, the entire Prince Hapnik and Potsdorf sequences are less than helpful, and they really aren't needed, despite a record pie fight, but it does serve to give Lemmon another role, diametrically different from Fate. Again he uses his eyes and his voice to great effect. `Baron Rolf von SHTUPP!!'(Any relation to Lilly von Shtupp in Blazing Saddles?) With perfect timing. I mean it. Try it some time and you'll never match that unique panache which Lemmon displayed. All in all, a wonderful and fun film. No deep message, just good turn-of-the-century atmosphere, great gags and lively dialogue. Enjoy, and don't take it too seriously. After all, it's not PEARL HARBOR, is it? **** our of **** for me.
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