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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