THE BIG WHEEL
Mickey Rooney has been underused a lot of times in his career. And this film is one of these times. He was short and that was a shortcoming (the right word in this case). So his roles were often innocuous ones in rather insignificant films. He has a face, if not a mug, and it is expressive to the utmost. He even has eyes that are as mobile as two wild birds in a stormy sky. His body, and I mean all his body, every single spot of it, is able to take any stand, stance and position that is meaningful and gives some flesh to his character and to the action. And it never looks overdone. His voice is also interesting though it is hardly worked upon enough. And here he is reduced to a pun. He is small so the wheel is big, the game is big, but he is the game (both meanings) of the director. And he is in the car racing business so the wheel is generally one of a set of four and it is also the big race track of Indianapolis and its 500. The film is essentially the story of a young car driver who climbs to the top, i.e. Indianapolis 500. The rest is wrapping up to give some sense to the film and some feeling to the situation and the action. A father who killed himself in Indianapolis. A mother who is scared out of her mind by the race. A mechanic who was the friend of the dead father, is in love with the mother and finally marries her. The daughter of the sugardaddy of the team looks like a boy and plays mechanic, and of course she falls in love with the poor Bill, Mickey Rooney. And that's about all. Unlucky us who do not get what we deserve : a film with a plot and some thickness. It sickens more than it thickens most of the time.
That's just the problem. With car racing films: actors have to be midgets as compared to the big wheels of the car. I am convinced it could be different, but we would have less track scenes.
Dr Jacques COULARDEAU
