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LAMBORGHINI

100 Years of Innovation in Half the Time

edited by Luca Molinari and Raffaello Porro


Design Marcello Francone Project Manager Pietro Della Lucia Scientific Coordination Alessandro Benetti / viapiranesi Editorial Coordination Eva Vanzella Editing Doriana Comerlati Layout Sara Salvi Translations Sergio Knipe on behalf of Scriptum, Rome Iconographical Research Massimo Zanella

Photo Credits © Archivio Fotografico Lamborghini Except: © Rue des Archives/AGIP: pp. 12, 14 left © Baja del Re: p. 14 right © Archivio Storico Teatro alla Scala, Milano: p. 15 centre © Actualfoto: p. 17 © Mario Bellini Architects: p. 70 bottom © Arturimages: p. 73 bottom © Andrea Silvuni: pp. 88, 90 © Shutterstock: p. 104 © Fotoarchivio Lamborghini – Tom Kirk: p. 114 top © Fondation Technicolor pour le Patrimoine du Cinéma: p. 141 © Reporters Associati: p. 143 top right First published in Italy in 2014 by Skira Editore S.p.A. Palazzo Casati Stampa via Torino 61 20123 Milano Italy www.skira.net © 2014 the authors for their texts © 2014 Automobili Lamborghini © 2014 Skira editore, Milano All rights reserved under international copyright conventions. No part of this book may be reproduced or utilised in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Printed and bound in Italy. First edition ISBN: 978-88-572-1874-8 Distributed in USA, Canada, Central & South America by Rizzoli International Publications, Inc., 300 Park Avenue South, New York, NY 10010, USA. Distributed elsewhere in the world by Thames and Hudson Ltd., 181A High Holborn, London WC1V 7QX, United Kingdom.

Acknowledgements The curators wish to thank the authors and all the people who have made the publication of this volume possible. In particular, our gratitude goes to the following people for their valuable cooperation and willingness to share their expertise: Laura Altieri, Moreno Conti, Luciano De Oto, Rodrigo Filippani, Cristina Guizzardi, Clara Magnanini, Filippo Perini, Maurizio Reggiani and Umberto Tossini from Automobili Lamborghini. A special thanks also to Paolo Stanzani. And finally, we thank Donatella Ferrari, Umberto Guizzardi, Mariella Mengozzi, Rossana Mordini from the Cineteca di Bologna, Roberto Piccinini from Actualfoto and Andrea Silvuni.


CONTENTS

7

Foreword Stephan Winkelmann

11

A Story Become Legend Luca Molinari

13

Lamborghini: An Italian Legend Philippe Daverio

31

A Passion for Technical Innovation Emilio Brambilla

65

Lamborghini Crossover Design Massimo Martignoni

89

Imaginary Portrait of a Lambo(rghinista) Alessandro Benetti

105

The Bullfight Where the Bull Never Dies Till Neuburg

141

On the Big Screen Gian Luca Farinelli

165

Grande Giro Lamborghini 50° Anniversario Raffaello Porro

182

Authors’ Biographies


FOREWORD

Stephan Winkelmann

President and CEO of Automobili Lamborghini

The theme for our 50th anniversary celebration is “100 years of innovation in half the time.” What does this mean to us? Fifty years of extraordinary Italian sports cars, made in Sant’Agata Bolognese. For Lamborghini this means half a century of innovation and the evolution of a brand that has always been able to surprise and fascinate the world with sports cars, characterised by extreme performance, by cutting-edge design, by Italian craftsmanship. Extraordinary sports cars that represent a dream. The perception of Lamborghini is something unreal, a dream, a story, a myth. A myth is built over time. But although the myth is an essential element, it is not sufficient for a brand like ours. We must also add the substance of quality, tradition and our roots: craftsmanship and innovation are keywords. And, last but not least, we must add the people who created the history of Lamborghini and the respect they deserve. Looking back at Lamborghini’s origins, a company born out of a challenge in 1963, there is something special that created today’s legend, a dream that unifies all of us. Ferruccio Lamborghini was a restless man always searching for the best. He was never satisfied with the status quo and in particular, as a car enthusiast with a deep technical background, he knew that there was room for improvement, something of a higher quality than the existing sports cars. He had a dream, but he was not a dreamer. A little story: on the way from Castelfranco to Sant’Agata there is a long straight road with a slight bend where the Ferrari and Maserati test drivers of those days had to slow down their cars from full speed testing. One day Ferruccio stopped right there, got out of his car and went to the middle of the field. He walked up and down for a while, and then he decided: “We will build the factory here.” From that day onwards the other test drivers had to brake hard. Ferruccio realised his first model, the 350 GTV, in an exceptionally short time. This car was presented at the 1963 Turin Motor Show without an engine, simply because there was no time left to mount it in the car for the event. Then, only three years after the foundation of his company, Ferruccio created one of the most iconic sports cars of all times, the Lamborghini Miura, with a transverse, mid-mounted V12 engine. The Miura became the first luxury sports car of today’s imprint. The 1974 Countach was an exceptionally futuristic luxury sports car with a revolutionary wedge shape design and the characteristic scissor doors: the dream of every little boy in the 1970s and 80s. The 2001 Murciélago was the ultimate V12 sports car of the new era with the Audi and the Volkswagen group. Today we are a company based on a “two-model-strategy.” The Huracán, with its V10 engine, the latest heir to the Gallardo, is the most successful model in Lamborghini’s history. The Aventador, our new V12 model, represents the top of luxury sports cars. And there is more to come. Another pillar of today’s strategy is the creation of so-called “one-offs.”

7


LAMBORGHINI: AN ITALIAN LEGEND Philippe Daverio

Aggressive, sinuous and provocative, Lamborghini

mechanics and competitiveness. But there was nothing

landed on the car aficionados’ market. Women and cars,

local or rural about this. Italy was cornering the European

joys and pains – the Italian saying goes. These were the

and American markets. Lamborghini was winning over

late 1960s-early 1970s, and Italy had just recovered

Grace of Monaco, Frank Sinatra and the micro-model

from its first post-war crisis: the so-called “slump” that

and meter maid Twiggy. The world was dreaming of

had brought the uninterrupted growth of the 1950s and

great transformations, exciting lifestyles and new

1960s to an end, marking the beginning of a conflict

horizons. In its frenzy, Italian design was charming the

between different models and ways of thinking which

international public. After the isolation of the fascist

was to reach its peak with the youth protests of 1968.

period and the disaster of the war, Italy was now

Ben carrozzata (meaning both “well-stacked” and

acquiring a new leading role.

“coach-built”) was an expression that could be used for

Design was the real source of inspiration for Italian

any sublime Italian female, be it a woman or vehicle.

industry as a whole – from the building sector to the

The car, in turn, had become female when it had started

manufacturing one. The market seemed to be setting

being referred to in Italian as macchina rather than only

no limits to people’s desires. And despite initial signs

as “automobile.” Marinetti and D’Annunzio’s dream had

of social conflict – exacerbated by the Scelba

finally become reality. Since cars had made the big leap

government in the mid-1950s, sparking public

and were no longer exclusively a futurist thing, they

demonstrations – the overall impression was that Italian

had become objects of desire. Their lines followed this

society was sailing smoothly on. This impression was

semantic development; and when it comes to grit,

further reinforced by what the country’s currency,

the matter becomes even more serious: car aesthetics

the lira, had achieved in the middle of the decade: an

the new Miura model in London

turned into ethics, into a world-view. Still, the initial

international acknowledgement of its stability.

in 1967.

model which Ferruccio Lamborghini (b. 1916) had set

Consumption rates were growing along with people’s

2

out from as a tractor manufacturer was a far more

aspirations. Luxury wished to show itself, as did quality.

Portrait of Ferruccio Lamborghini.

pastoral one. What drove him on was his love for

Ever new challenges were being launched.

1 Singer Sandie Shaw presents

13


3

Work was eagerly being carried on for the motorway

in the film Bread and Chocolate – was now growing

The famous model Twiggy,

finally destined to link North and South. It started in the

proudly independent, as was its national oil company,

spring of 1956; by 1958 people could drive from Milan

symbolised by a six-legged dog. The same pride was

to Parma; by 1960 you could reach Florence; and by

displayed through the consolidation of Italian interior

1964 the whole stretch down to Naples had been

design at an international level: Italy had created the

boom in Italy: the building

completed. Speed limits were set only in mountain

Italian Style of Life, and the whole world was beginning

of the Bologna-Florence stretch

areas – apart from these, it was all-clear! To speed along

to appreciate it. The popular images of Chianti bottles

of the Autostrada del Sole

the motorway became the dream of every lucky owner of

and spaghetti were still common, yet increasingly in

a high-performance car. The kind of big cars America

conjunction with those of a high-society fashion capable

had been marketing as comfortable, slow, automatic

of charming the jet set, with designers the likes of

and conditioned toys were no match for the technical

Capucci and Valentino acting as the heralds of a

competitiveness of Italy, which opted for far more sporty

renewed taste. Throughout the world, the image of Italy

an icon of the 1960s, in February 1967. 4 The peak of the economic

motorway, 1959.

parameters. Chauffeured cars were almost exclusively

became that of Fellini’s La Dolce Vita and of premières

confined to the world of politics. Confident Italians felt

at the Scala with Luchino Visconti and Maria Callas.

like stars in the factory and in the office, but especially

The legend of Italy was growing along with the country’s

behind the wheel. The success of Italian sports cars was

economy.

no doubt connected to the very character of Italians at

As is well known, cars represent a combination of

the time: individualist and competitive. The country which

essence and appearance. They blend technical and

had lost the war and which in the post-war period had

technological qualities with a design intended to express

witnessed the emigration of countless people to the

these qualities. And what we find are very different

more developed areas of northern Europe – as portrayed

paths. On the one hand, sports cars found their testing

14


6

5

Fellini and La Dolce Vita have

The economic power

stood for many years as the

of the Italian oil industry:

embodiment of the Italy of the

Supercortemaggiore,

economic boom. Pictured here is

the refined petrol sold by Agip

the poster of the film, 1960.

in the 1950s and 1960s.

7 La Scala, the greatest shrine to world opera and a showcase for luxury and the beau monde, celebrates itself and its rites through Luchino Visconti’s films and Maria Callas’ enchanting voice. 8 Raffaella Carrà, a real legend for the 1970s generation, is invited to advertise an Agip lubricant on the hood of a white Lamborghini.

15


9 The Miura in a period photograph.

10

11

A fashion shoot with a Miura.

Dean Martin with the 350 GT, 1964.

16


350 GTV Year of manufacture 1963 Engine 60° V12 Displacement: 3464 cc Maximum power: 360 hp (SAE) at 8000 rpm Drivetrain Type of transmission: rear-wheel drive Gearbox: 5-speed, manual Suspension Front and rear: individual wheel suspension with triangular arms, coil springs and anti-roll bar Shock absorbers: telescopic Performance Top speed: 280 km/h Acceleration (0–100 km/h): n/a


A PASSION FOR TECHNICAL INNOVATION Emilio Brambilla

Ferruccio used to say that he was not interested in

Pedrazzi and Bevini came from Ferrari, and both of them

futuristic projects: he wanted a normal sports car,

had worked previously at Abarth in Turin. Vecchi, on the

though very fast and without faults. His engineers,

other hand, was one of the original designers at the

however, had other ideas, making Lamborghini one of

Lamborghini tractor company. The New Zealander Bob

the most innovative automobile companies.

Wallace also joined the company at around this time.

Engineer Paolo Stanzani built the technical foundations

This was the beginning.

of the marque, and his influence extended well beyond

“We realised that the chassis of the 350 GTV prototype

his time at the company, from 1963 to 1975.

was not suitable for industrial production. It was made

This is how Stanzani describes the company’s technical

with oval tubes, as Ferraris had used for a long time,

approach.

while for the final version Dallara chose rectangular and

“When I arrived, the factory still didn’t exist. At the

square tubes. The suspension, too, used tubular arms,

beginning we worked in Cento, at the tractor factory,

which we made from pressed sheet metal. Essentially

then we moved to a site opposite the present-day

we reviewed the whole project for series production,

Sant’Agata works. We rented part of an industrial shed

and the new version was called 350 GT.

for the technical office and the first rudimentary

“The Lamborghinis were not just ordinary cars where

1, 2

workshop, used mainly for testing and assembly.

only the exterior aspect changed. All mine were based

Right from the outset, Paolo

According to Ferruccio’s directive, we tried to put

on distinct technical features. But then with Ferruccio

together the engine and chassis parts that were

Lamborghini it was easy to do new things, because he

its technical manager. He worked

designed, at least during this initial phase, under the

would constantly say, in the local dialect, of course:

for the company from 1963 to

guidance of engineer Giotto Bizzarrini. The first

‘You have to make mistakes, because if you don’t make

1975, and his Countach

designers were Vecchi, Pedrazzi and Bevini, and a few

mistakes you won’t do anything new.’ While everywhere

workers were moved from the tractor factory. A few

else, if you made a mistake…

epitome of Italian sportiveness

months earlier engineer Gianpaolo Dallara had also

“At that time we were young, we had no experience and

at its best.

been engaged, responsible for technical coordination.

we didn’t come with professional baggage, which can

Stanzani contributed to the development of Lamborghini as

remained in production up to 1990. The V12 has become an

31


sometimes put a brake on creativity. We tried to solve problems with the technical knowledge we had, and I tried to get a simple message across: we have to do today what everyone else will do tomorrow. For example, the 350 GT, the first Lamborghini, was already innovative compared to other sports cars. For one thing, it had a V12 engine with twin camshafts, while those of the competition had single camshafts. Instead of using rocker arms, we had the cams directly on the tappets: a different system, racier, which was a novelty on a V12 for road use. “We had independent rear suspension, which was a great thing at the time, when almost everyone had rigid links with leaf springs. For roadholding and comfort it was a big advantage. It general, all aspects of handling had been carefully considered. This was mainly thanks to Dallara, who always paid special attention to handling. “After the first twenty-four or twenty-five 350 GTs, which mounted a ZF gearbox, we realised that it didn’t work for us: the synchronisers deteriorated rapidly because our engine reached 7500 rpm, while the gearbox had been designed for engines which only reached 5000 rpm. So we were forced to design and

3, 4 Innovations were constantly introduced, even with respect to elements concealed from the customer’s gaze. Thus the chassis of the 400 GT (above) was improved compared to that of the previous 350 GT (top).

5 The complete mechanics of the 350 GTV prototype, Lamborghini’s first car. The tubular chassis was not suited to industrial production and was radically modified by engineer Dallara to create the 350 GT series.

32


Miura P400 Years of manufacture 1966–68 (Years of manufacture of the Miura model 1966–72) Engine 60° V12 Displacement: 3929 cc Maximum power: 385 hp at 7850 rpm Drivetrain Type of transmission: rear-wheel drive Gearbox: 5-speed, manual Suspension Front and rear: individual wheel suspension with triangular arms, coil springs and anti-roll bar Shock absorbers: telescopic Performance Top speed: 280 km/h

The photographs show the Miura SV (1971–72)


Jslero Years of manufacture 1968–70 Engine 60° V12 Displacement: 3929 cc Maximum power: 320 hp at 6500 rpm Drivetrain Type of transmission: rear-wheel drive Gearbox: 5-speed, manual Suspension Front and rear: individual wheel suspension with triangular arms, coil springs and anti-roll bar Shock absorbers: telescopic Performance Top speed: 250 km/h Acceleration (0–100 km/h): 6.2 s


64


LAMBORGHINI CROSSOVER DESIGN Massimo Martignoni

1, 2

However contradictory this may seem, the relation

the late nineteenth century was still the only automotive

between the world of cars – the world of “machines” par

vehicle in existence, namely the carriage, engendered a

excellence – and that of design has never been, and

dichotomy within the world of cars between the two

perhaps never will be, a clearly set, straightforward one.

poles of form and function. The carriage cannot be listed

A kind of gap exists between the two that even the

among modern discoveries (unlike the bicycle, which

critical and methodological debate on industrial design –

spawned its motorised version – the motorbike); yet, its

that has been raging for centuries by now – has not

appropriation proved effective because the social status

succeeded in bridging. How is it that cars, the final

connected to the ownership of horse-led vehicles is

outcome of a complex process of study and research

what sparked the “legend” of the car. It is true that as

geared towards large-scale production, do not appear to

technology developed, the factor of speed also tickled

fully respect the rules that instead govern the whole

the vanity of a public of predominantly male purchasers

world of serially manufactured objects? To tell the truth,

and admirers. But the symbolic horizon engendered by

there is no easy answer. Right from the start, cars – far

the carriage model continued to operate, to varying

more than other vehicles such as bicycles, motorbikes,

degrees, well into the 1930s.1

trains, ships and aeroplanes – have existed in a realm of

Within this design context, then, the issue of how form

their own, only interacting with theoretically related

should follow function never came into play, or at any

spheres of design from a distance.

rate was never assigned its full importance: for the

The reasons for this are to be found in the initial stages

appearance of vehicles was not only intended to reflect

allure, an overall image that

in the life of the car, when through the first pioneering

gradual technological developments (possibly with the

clearly marks a departure from

attempts to make the wheels of a vehicle turn without

aim of limiting manufacturing expenses), but was also

existing criteria for sports cars:

the use of animals, starting from experiments based on

meant to cater to fashion and lifestyle whims. This

steam power (Cugnot’s carriage, 1769), the problem

distinctive peculiarity emerges again and again, revealing

1968), the Miura is an

emerged of how to lend the vehicle itself a suitable

the operational independence of a sector which is not

unmistakable icon of the 1960s.

appearance. The application of a motor device to what in

always driven by logic or reasonableness. One example

An eye to detail, a sophisticated

like space-age fashion (top, clothes by André Courrèges,

65


5, 6 A tireless, vibrant vying among the many stars of the Italian

are said to find their origins in the legendary contrast between Ferruccio Lamborghini and Enzo

Ferrari.6

was the year of the Miura, which changed everything. The first two Lamborghini models, 350 GT and 400 GT,

scene: the turn of the 1970s

Lamborghini’s fortune was precisely to have been the

represent an elegant take on the Gran Turismo type

was an amazing season for

last to enter upon the scene, but with strong motivations

developed by Ferrari, in line with a trajectory that

automotive design in Italy.

and just at the right moment: in the early 1960s, when

extended (with the Jslero) down to the very end of

the distinctive culture and style of this decade were only

Ferruccio Lamborghini’s career as the head of the

Pininfarina’s Ferrari Modulo

just taking shape.

company (1972). The third release, Miura P400, instead

(right).

Right from the start, Ferruccio Lamborghini’s

marked a revolutionary turning point. The famous history

7

entrepreneurial ingeniousness led him to take steps that

of the marque from Sant’Agata Bolognese would never

The jocular genius of Achille

would allow the young company to acquire a solid

have been the same without this masterpiece, which was

Castiglioni came up with Primate

international standing (what enabled it to survive in later

first acclaimed in its bare chassis at the Turin Motor

and more difficult moments). Everything took place within

Show in October 1965 (not least because of the original

a few years. First of all, the choice was made to employ

central and transversal placing of the motor), and then in

capable technicians – such as Giotto Bizzarrini,

its stunning final version, developed by Bertone and

Gianpaolo Dallara, and Paolo Stanzani’7 – testifying to

Gandini, at the 1966 Geneva Motor Show.

the wide-ranging and advanced professional knowledge

Let us take a closer look at the Miura. What made

Italians had attained, as symbolised by the bestowal of

it striking back then is what still makes it striking.

the Nobel Prize upon Giulio Natta (in the momentous

A charming aggressiveness restrained by a sinuous and

year 1963, the very date of Lamborghini’s founding).

enveloping silhouette. Perfect proportions, a limited size,

In 1965, the company then turned to Nuccio Bertone,

a majestic hood harmoniously expanding into the

and especially to the young talent Marcello Gandini, a

volumes of the cabin and sides. Razor-sharp air-intakes.

step that led to some truly unexpected results. 1966

Headlights as wide open as Twiggy’s eyes, on a front

Bertone and Gandini’s Alfa Romeo Carabo (above) and

(1970), one of the most unique chairs of those years, forcing the user to take a kneeling position.

like the snout of a shark in wait for a prey. Not yet thirty when he designed the Miura, Gandini was already a mature talent, about to become one of the creators of twentieth-century Italian style. What makes the Miura so beautiful and so modern in its dazzling, sporty outline? From a strictly technical perspective, the Miura represents the point of arrival in a lengthy process of research on aerodynamics and plasticity: a trajectory spanning several decades that led to many wonderful combinations of chassis and mechanics.8 On the other hand, however, this vehicle also contributed to raising the state of the art of its own age. Halfway through the 1960s the decade came of age. The vestiges of the 1950s, still clearly detectable in almost all areas, now gave way to more sober and sophisticated features, taut lines, saturated colours, and well-balanced outlines, despite an explicit and often

68


8, 9

ostentatious display of modernity. The seams between

The decade which had witnessed

different parts whether of clothes, cars or fittings

the début of the Lamborghini brand came to a close with the

became clear-cut and direct, leaving no room for

resounding international success

afterthoughts. Corners and facets, along with any other

of Italian design – a blast of joyful

not strictly necessary parts (metal joints, edges,

liveliness enhanced by the use of

decorations), tended to be replaced by single rounded

plastic materials. From above, Dondolo and Nastro, by Cesare Leonardi and Franca Stagi.

and self-bearing volumes. In general, everything grew more compact. It was the triumph of plastic: a magical material enabling virtuosic arrangements and designs that would have been quite unimaginable before.9 Details such as grids, ventilation outlets and button panels took on a sci-fi appearance, reminiscent of the dashboards on spacecraft. Temporal short-circuits would suddenly make things that had just been released outdated: what a chasm lies between the college-boy look of the Beach Boys from Surfin’ Safari (1962) and the glamorous intellectualism of the Beatles from Rubber Soul or Revolver (1965–66). Or again, between the early 1960s idea of fashion and the space-age couture of Pierre Cardin, André Courrèges and Paco Rabanne. A host of other examples could be mentioned. Hints of what was to come could previously be found across various sectors, of course (we only need to think of Joe Colombo with regard to design), yet the most radical

10 A remarkable combination of pure industrial aesthetics and an ironic engagement with the theme of packaging, the Tube Chair marks the highpoint in the creative career of Joe Colombo, a visionary master who prematurely passed away in 1971.


Countach LP 400 Years of manufacture 1974–77 (Years of manufacture of the Countach model 1974–89) Engine 60° V12 Displacement: 3929 cc Maximum power: 375 hp at 8000 rpm Drivetrain Type of transmission: rear-wheel drive Gearbox: 5-speed, manual Suspension Front and rear: individual wheel parallelogram suspension with coil springs and anti-roll bar Shock absorbers: telescopic Performance Top speed: 315 km/h Acceleration (0–100 km/h): 5.6 s


104


THE BULLFIGHT WHERE THE BULL NEVER DIES Till Neuburg

The setting is not Pamplona.

words, an Anglo-Saxon extravaganza bordering on fake

We are in Italy, on Motorway 255, exactly 34.2 km

internationalism.

away from the capital of the region Emilia-Romagna...

Let us conjure up this epic of early Italian manufacture

and from Maranello. Here, at Sant’Agata Bolognese, the

– prior to the rise of designer labels but contemporary

only matador with the power of life and death over bulls

to the rise of the miniskirt, the end of the Italian

passed away twenty years ago. On those rare

economic boom, the release of the Beatles’ first album,

occasions in which Ferruccio Lamborghini would give

the marketing of push-button phones, the first Centre-

one of his creatures the thumbs-down, nothing could be

Left government in Italy, the launching of the audio-

done. If one of the big brutes misbehaved, that was it.

cassette, and – as far as Italian television advertising is

By contrast, when Lamborghini’s bulls seemed

concerned – the triumph of that little dirty but winning

promising, he would pamper them like children. Starting

bird called Calimero.

from the third-born, he christened them with the most prestigious names drawn from the hall of fame of

In 1963, what is now known as “communication” did not

bullfighting: Miura, Espada, Jslero, Jalpa, Urraco, Diablo

rhyme with sensation... and it would have been quite

– a custom that Lamborghini’s successors were later to

unimaginable for the term “event” to entail cocktails,

maintain with the various Murciélago, Gallardo,

attention-seeking promoters and designer labels.

Reventón, Aventador and the lastborn Huracán.

However, some (real) big events that year made a lasting

For the founding father of that ranch, the only consistent

impression on anyone with an eye out for more than just

1

way of communicating with the world was to “breed”

fashion, stock market lists and the Champions League.

Miura, Jslero, Jalpa, Urraco,

powerful, fast and beautiful cars that on the road (and

Exactly fifty years ago, Pope John XXIII issued the

Diablo, Murciélago, Gallardo,

on the road only, never on the racetrack) would prove

encyclical letter Pacem in terris; President Kennedy

themselves to be docile and gentle creatures – indeed,

symbolically embraced the whole of Europe with his

Lamborghinis come from the

easy to drive. For Ferruccio Lamborghini, “market,”

historic phrase “Ich bin ein Berliner!”; Martin Luther King

world of bullfighting.

“public relations” and “advertising” were nothing but big

shook the world (and not just the Black world) with his

Reventón, Aventador, Huracán…: the names of the most famous

105


ON THE BIG SCREEN Gian Luca Farinelli

Writing about cars and films risks turning into a rather

gallops in The Birth of a Nation (David Wark Griffith,

boring affair: a mere listing of explosions, accidents, and

1915), the first work in which the editing was made

chases. On the other hand, William Friedkin – the

entirely to suit the narrative; the wild roller-coaster rides

director of The Exorcist, among other things – has

in Entr’acte (René Clair, 1924), an avant-garde film

argued that car chases are the purest form of cinema,

intrinsically connected to the theme of speed; and the

since they are the only one which cannot be reproduced

memorable chariot race in Ben-Hur (William Wyler,

through other narrative media.

1959) – to mention but the most famous examples.

Cinema has always passionately “chased” after speed.

The history of cinema also reflects the history and

It is through the speed of the film running through the

development of the various means of transport in all

projector that the images impressed upon it create the

their forms; and certainly over the last few years cars

illusion of movement: this is what distinguishes cinema

have replaced all other vehicles.

from the arts of painting and photography, ensuring its

Among the cars most often featured on the big screen,

dignity as a self-standing and unique form of art.

a place of honour certainly goes to the Lamborghini –

Cinema started filming movement precisely in order to

and this, for a host of reasons.

prove its uniqueness: what is regarded as the first film

The Lamborghini is an icon: an icon of speed and

in the history of cinema is precisely The Arrival of a

success, as well as a symbol of excess and extreme

Train at La Ciotat Station by the Lumière Brothers

performances. It stands for dreams and madness; safety

(1896). Right from the start, the concepts of motion

and utopia. Both concrete and unreal, it lies beyond

and speed shaped the films running before the eyes of

reach.

amazed viewers, at a time in which cinematography was

The Lamborghini has a legendary aura that pre-dates

Knight, 2008.

still a “wonder” and would represent or create new

films and endures despite them. The car certainly did

2

worlds: the incredible prototype of a spaceship in A Trip

not acquire its fame because it was featured in a film;

Georges Méliès, A Trip to the

to the Moon (Georges Méliès, 1902), the first science-

nor is it identified with a specific model, connected to a

Moon, 1902.

fiction movie in the history of cinema; the endless

particular character. Rather, it is the Lamborghini itself

1 Christopher Nolan, The Dark

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that adds something to the scenes in which it is

The Lamborghini has also sped across a host of Italian

of the film: set against a skyline in the foreground, the

featured, not the other way round.

comedies: just think of one of the last films directed and

red Lamborghini is lowered with a crane, as Tom Cruise

Its legend takes on ever-new forms. Its charm lies

enacted by Alberto Sordi, Nestore – L’ultima corsa

checks that the delivery is running smoothly in every

precisely in the variety of genres, stories and situations

(1994). The car has also starred in sophisticated

detail.

in which it appears, as though it were impossible to

French comedies such as Le Mouton enragé (1974), a

From being an icon of social prosperity – whether real

assign it any fixed direction.

gem of a film directed by Michel Deville, with a cast that

or alleged – the Lamborghini turns to being an icon of

In action films the Lamborghini is a crucial element of

includes Jean-Louis Trintignant, Romy Schneider, Jane

charm with the film that more than any other celebrates

the show, a show within the show, as in Mission:

Birkin and Florinda Bolkan.

speed: The Cannonball Run (Hal Needham, 1981).

Impossible III (J. J. Abrams, 2006) or Transporter:

Switching from one world to another, we find the

The car is once again a Countach, a black one this time,

Extreme (Louis Leterrier, 2005), where it even races

Lamborghini at the centre of one of the most famous

and at its wheel we find two stunning girls who use

against an aeroplane. But we also find the Lamborghini

Hollywood dramas of the 1980s, Rain Man (Barry

their charm to reach the finishing line. The stealthy

in the melancholic winter settings of an art film such as

Levinson, 1988), where it embodies the good fortune of

Countach speeds off with no concern for limits or

Valerio Zurlini’s Indian Summer (1972), where it reflects

the brother who has had it good in life (Tom Cruise), by

barriers, mocking the police who vainly attempt to keep

the aggressiveness of the movie’s villain (Adalberto

contrast to the older autistic brother (Dustin Hoffman).

on its trail. The car is as irreverent and restless as its

Maria Merli), in contrast to its hero (Alain Delon).

A Countach makes its appearance at the very beginning

drivers.

3 William Wyler, Ben-Hur, 1959.

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4 Louis Leterrier, Transporter: Extreme, 2005.

5, 6 Valerio Zurlini, Indian Summer, 1972.

7-9 Barry Levinson, Rain Man, 1988.

Here is another theme worth focusing on: just as the

moment before seemed nothing more than a mad

Lamborghini changes depending on the genre of the

dream, suddenly gains momentum thanks to a gift out of

film featuring it, so it is capable of changing its

the blue: a car retailer open at night, and a car which

appearance and character depending on who is driving

even when parked with its engine off seems to speed

it and on the scene.

up the world around it.

It can be aggressive in action films – whether it be

What all these examples suggest is that, regardless of

driven by a fleeing criminal or a policeman on the chase

the genre of the film – be it an action film, a comedy or

– but can also be as elegant and lissom as the woman

a drama – and regardless of the kind of driver at the

at its wheel.

wheel, the Lamborghini is never featured as simply a

It can also turn into a safe haven, as in the famous

car, a means of transport: for it becomes one of the

sequence from Rocky IV (Sylvester Stallone, 1985) in

characters.

which Rocky Balboa (Sylvester Stallone) goes on a long

This emerges even more clearly if we consider the car

night drive at the wheel of what by now has become his

used in The Dark Knight (Christopher Nolan, 2008).

legendary black Jalpa. Only once he has left, once he has

When not in the role of Batman, the millionaire Bruce

embarked on his solo ride, is the protagonist able to bring

Wayne (Christian Bale) speeds through the streets of

into focus his pain for the passing of his friend Apollo

Gotham City on board a Murciélago (no causal choice,

Creed (Carl Weathers). The Jalpa is discreet and silent, a

since murciélago in Spanish is precisely the word for

trusted travel companion. Like a black arrow darting

“bat”). This is just the sort of car we would expect the

through the night, it cuts the hero off from everything and

protagonist to drive: self-confident, fast and dynamic,

everyone, leaving him alone with his own thoughts.

it is at the same time silent and discreet during chases.

The car may also serve as the equivalent of a horse in

It is a real protagonist itself, although it does not have

sparkling armour, as in the film Rumble in the Bronx

all the gadgets and optionals we would expect from

(Stanley Tong, 1995): Jackie Chan gets his hands on a

a “Batmobile.” Indeed, it has no need of them. In an age

golden Countach and, equipped with a mighty samurai

in which special effects make everything possible, and

sword, flings himself against a sort of giant hovercraft

in which sports cars are pushing the barrier of the

driven by a dangerous gang of criminals. The whole

impossible more than ever before, with its simply “real”

scene reminds one of a medieval joust: the car in this

equipment the Lamborghini lends an almost life-like

case is simply a contemporary version of the hero’s

touch to the impossible.

faithful steed.

The Lamborghini always remains itself, despite

We find a Lamborghini again in the role of the faithful

playing many different roles. While it may serve

steed in Zero Dark Thirty (Kathryn Bigelow, 2012),

as a costume or mask, it is never transparent.

where the Gallardo becomes a means of persuasion

Regardless of the genre or scene, when a Lamborghini

even more effective than torture or blackmail. The hunt

is shown we can rest assured that we are about

for the most wanted international terrorist, which only a

to see a crucial sequence.

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GRANDE GIRO LAMBORGHINI 50° ANNIVERSARIO Raffaello Porro

“100 years of innovation in half the time.” This is the

reason alone, of course – it was necessary to have a

slogan that the president of Lamborghini Stephan

street race make up the heart of Lamborghini’s official

Winkelmann has chosen to mark the company’s 50th

celebrations. This had to be an epic, unprecedented

anniversary. The slogan combines the forward-drive and

rally, capable of conveying to the participants, clients,

pioneering spirit which have always been the brand’s

clubs, fans, media and public the power and significance

hallmark with a historical perspective, as well as

of a legendary marque: one that has been fuelled by

something more – for else we would simply have written

passion for almost fifty years, although for over thirty

“50 years of innovation.” But this would not have been

years it effectively remained the privilege of only a small

enough: we also wished to introduce the concept of

niche of aficionados; a relatively young marque, then,

speed, which in itself has been an essential feature of

one which has enjoyed just over fifteen years of brand

the myth of the car ever since the days of Futurism, and

fame, as understood in modern terms.

which is a particularly crucial component of the

The “Grande Giro Lamborghini 50° Anniversario” has

Lamborghini marque. The company has couched the

been a call to arms. The Grand Tour was officially

concept in terms of a surprisingly revolutionary approach

announced by president Stephan Winkelmann through

by avoiding any repetition. The same idea had already

a press conference held during the Quail event on

successfully been encapsulated in a previous slogan,

18 August 2012, in the week devoted to classic cars

which was conceived – and has always been formulated

in Monterey, California, which culminated with the

– in English: “Always different, always Lamborghini.”

Concours d’Elegance at Pebble Beach. The Grande

From this sprung “100 years of innovation in half the

Giro immediately aroused much curiosity and

time,” an irreverent and provocative motto which is at the

enthusiasm, drawing all the people from around the

same time light and nimble, just like Aventador’s 0–100

globe who for various reasons were interested in the

in under three seconds.

Lamborghini world. A choice worthy of Ferruccio, the

In order to comply with this slogan – yet not for this

organising of this event reflects the courage of going the

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extra mile, while channelling all available resources in

dinner for the crews was held in the strikingly evocative

buildings of its historic centre. Lunch is then served for

order to ensure the Grand Tour’s success. Indeed, it

setting of the Bicocca Hangar, at the end of a long

the “Lambos” (as Lamborghini drivers are known) in

represents an unprecedented event in Lamborghini’s

day which had begun in the middle of the night with

the courtyards of the Abbey of San Colombano.

history.

the unloading of the vehicles in Piazza Castello, the first

The convoy travels on in the afternoon, always under

Over three hundred and fifty Lamborghinis reached Italy

parc fermé of the Grande Giro. The sight of over three

the watchful eye of the traffic police, in the direction

from the four corners of the earth. In a column extending

hundred and fifty Lamborghinis parked in an arc

of Forte dei Marmi. The day ends with an aperitif on the

for 4.5 km – with a total 190,000 hp – they travelled the

formation all around the Sforza Castle was only the

beach, followed by dinner in the long-standing venue

roads of Italy, swarming into city squares. Behind the

beginning of an amazing parade destined to mark the

La Capannina di Franceschi.

wheel sat the car owners, who for once were able to

history of automobile rallies. Thursday 9 May

bring their beloved four-wheeled creatures back to their place of origin, either by road, ship, or aeroplane.

Wednesday 8 May

Reaching the military airport of Grosseto, the drivers

Gentlemen, start the engines! The convoy sets off in

stop to have lunch inside the base, in the shade of

Tuesday 7 May 2013

the direction of Bobbio. The city located in the verdant

imposing Typhoon jet fighters. In the afternoon, the

Right from the start, Pirelli has been the sole provider

Val Trebbia – “the most beautiful valley in the world,”

convoy sets off again, headed for Rome. The vehicles

of original equipment tyres for all the super sports cars

according to Hemingway – is decked out for the

stream through the Janiculum area, Via della

manufactured by Lamborghini. Hence, the welcome

occasion, with pennants and flags flying atop the

Conciliazione, and the Velabro district. The cars filing

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past St Peter’s basilica make for an unforgettable sight.

Sesto Elemento and the concept car Urus;

The guests receive a warm welcome at the monumental

– a guided tour of the museum, factory and plants in

complex of Santo Spirito in Sassia, where they enjoy

which carbonium-based components are manufactured;

dinner in the company of the Mayor of Rome Gianni

– an auction of works by the designers of the Style

Alemanno and various celebrities from the world of

Centre;

entertainment.

– an area devoted to motorsports, featuring the Gallardo LP 570–4 GT3 and Gallardo LP 570–4 Super Trofeo;

Friday 10 May

– the Boutique, where guests could purchase items from

About to make their way back to their headquarters, the

the collection, if they had not already done so at the

Lamborghinis get ready to face a challenging day: they

Temporary Store in the Galleria Cavour in Bologna;

are to travel around 450 km along charming roads,

– an area devoted to original spare parts.

including the Raticosa pass between Tuscany and Emilia. Before that, however, they call in at Orvieto,

The closing event of this busy day was the soirée held in

where they receive a warm welcome from local school

a pavilion especially set up for the over one thousand

children gathered outside the city cathedral. The drivers

guests.

stop for lunch at Tenuta Il Borro, a farmhouse owned by

The signal for guests to make their way into the hall was

the Ferragamo family of fashion designers. In the evening

given by the landing of an impressive EH101 helicopter

they reach Bologna: Piazza Maggiore, decked out for the

of the Italian Navy, from the 1st Helicopter Division of the

occasion, fills up with Lamborghinis as never before in

Luni-Sarzana Helicopter Base.

its history: the 40th-anniversary photograph, striking as it

The soirée opened with a standing ovation for the traffic

was, looks slight by comparison. In the splendid halls of

police, who had provided support throughout the Giro.

Palazzo Re Enzo, the Mayor of Bologna Virginio Merola

The round of applause was followed by the entrance on

officially welcomes president Winkelmann and the seven

the scene of the winner of the Lamborghini 50th

hundred participants.

Anniversary Concours d’Elegance: a Miura P 400 S from 1969, formerly owned by Frank Sinatra and now the

Saturday 11 May

proud possession of the Norwegian collector Harald

On Saturday morning, with the help of a technical jury

Skjoldt. The prize consisted in a special edition of the

of specialists headed by Adolfo Orsi, the jury of the

legendary Fifty Fathoms watch by Blancpain,

Lamborghini 50th Anniversary Concours d’Elegance –

Lamborghini’s main partner for its 50th anniversary

presided over by Gianpaolo Dallara and consisting of

celebrations.

Walter De Silva, Alain Delamuraz, Giorgetto Giugiaro,

The spotlights were also turned on the Lamborghini

Harry Metcalfe, Maurizio Reggiani and Angelo Sticchi

Veneno and the vehicle created by the head designer of

Damiani – reviewed over thirty vintage Lamborghinis:

the Volkswagen group to commemorate the company’s

from 350 GT models to Countachs.

anniversary, the Lamborghini Egoista.

The official speaker Simon Kidston, who while being the

At dinnertime, videos and photographs were

owner of a Miura took part in the Grande Giro at the

projected of the Grande Giro, prompting cheers

wheel of an Aventador, presented the competing

and comments from guests who saw themselves

vehicles in an outstanding setting: a Piazza Maggiore

on the screens. Also particularly striking was the vintage

packed with contemporary and vintage Lamborghinis.

video with early Lamborghini employees talking about

To further liven up the morning, Paolo Fresu held an

the birth of the company. Moving speeches were then

improvised trumpet concert from the terrace of the San

given by the president and CEO of Lamborghini

Petronio basilica.

Stephan Winkelmann, the CEO of Audi Rupert Stadler,

When the Concours d’Elegance was over, the

and the Mayor of Sant’Agata Bolognese Daniela

Lamborghinis set off in the direction of Sant’Agata

Occhiali.

Bolognese. The convoy captured everyone’s attention,

As the soirée drew to a close, a striking 170 metre-long

with local citizens and enthusiasts gazing on, taking

fireworks display – featuring an original soundtrack –

pictures, and cheering.

marked the end of the official celebrations. At the rip

Upon their arrival at the factory, the guests enjoyed the

roaring tune of famous hits, the more active guests

opportunity to experience the manufacturing plant in a

then took to the floor with a live gig by the Mandoki

unique and original way thanks to:

Soul Mates, the band led by Leslie Mandoki which

– an open-air lounge with a bar service, located near an

includes Paul Young, Howard Jones and Midge Ure

area with iconic vehicles on display, including the one-off

(Ultravox).

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