Customer Reviews

Winning

5 star:		(9)
4 star:		(12)
3 star:		(3)
2 star:		(1)
1 star:		(1)

 

 

Now and then, it can be a real pleasure to dip into the years and pull up an older movie for a night of "couch tatering." Not that this is such an "old" movie... but old enough that the differences between today's special effect dazzle and flash and 1969 are evident in pacing, dialogue, general style. Today's movies sometimes are lost in technical fireworks. This movie pleases with its simple quality of good actors who interact well with each other and stand on their own acting strength without too many fireworks.

And still, the director, James Goldstone, deserves kudos for his creativity and innovativeness throughout the movie. The opening scenes are original for 1969, beginning with a close-up of a buttery yellow dandelion, moving through clips of families and racing fans gathering together. Of note are clips at the Indianapolis race track - a scene of a misty morning at the track the day of the Indy 500, scenes of fans entering the park, race car drivers and mechanics in tense preparations, increasing adrenalin, burgeoning crowds. I have yet to attend the Indy 500, but seeing these scenes certainly made me hope that soon enough I might.

My fellow "couch taterer" and I had interesting conversations offering the male/female viewpoint on the scene of infidelity that centers the plot - the reasons behind the betrayal, if not excuses, the ramifications to all involved, including the son played by Richard Thomas, the responsibilities befalling all, the likelihood of a reuniting at movie's end.

In short, when a movie catches your imagination, makes you want to visit the place and event portrayed, and gives food for thought and discussion at its end, then this is a movie worth adding to a collection, whether one is a race fan or not.

This movie is often mentioned as a member of the great pantheon of classic race movies, and it does belong there but it is more of a bottom feeder compared to "Grand Prix" and certainly "Le Mans". It is not the quality of the race footage or the throughout great performances of Newman, Woodward, and a very junior Richard Thomas, impressive on his movie debut. It is more the script that is the problem, and the movie lacks crucial time in the beginning to develop the characters and their relationships. Robert Wagner is a weak link in this movie since he never establishes himself as the friend and rival of the Newman character Frank Capua, and the whole delivery of his part in the affair with Capua's wife is weak. Where "Le Mans" does very much with little words, this movie sometimes fails to establish the relationship drama in key scenes, yet is very touching at times.
The track drama on the other hand is captured flawlessly, and the viewer gets some very interesting impressions on how the Indy 500 were run in the late 60ies, just before the hayday of the snakepit. With the right level of expectation this is an enjoyable movie, and the quality of the DVD leaves nothing to desire.

This is a must for your collection. The story line is predictable, but the acting makes it worth it. The movie is complete with twists, laughs, excitement, and of course terrific racing scenes. Some of the closeups of Paul and Robert Wagner are memorable, and Richard Thomas makes you forget about John-Boy. I can watch this movie again and again. Unfortunately, the networks have cut it up and I have yet to see it on cable.

A little romance, a little drama and lots of racing! This seems like a lighthearted film at first glance, but it's pretty deep. The pace of the film must be running parallel to the speed of the race cars. Don't blink or you might miss some key moments. That's okay. Who wants to watch a 6 hour movie? What can I say, Newman and Woodward are their usual spectacular selves. Wagner is at home as a charming playboy. Thomas is pretty impressive in his youth. I liked this movie very much. Winning gets the checkered flag in my book. P.S. Newman/Woodward can make reading a phone book exciting!

Whether you are a racing Fanantic like me, or a person who likes a good basic story line this is one movie that fits the criteria. The footage of actual racing scenes from the golden era of the 1960s are priceless, if you know your racing, you can't help but admire those crazy SOBs who raced then, with a lot less safety measures incorporated then as it is in the sport today. And as far as story guidelines goe, who else fits the part of the typical, all-american (Dan Gurney type) racer than Paul Newman and his icy blue eyes. Joanne Woodward and Richard Thomas perform great as well to support the rest of the story. Yeah, the story line may be predictable to a degree, but the acting and the fact this movie was made without any foul language makes it a treasure in itself. It's only a shame that Dave Grusin's soundtrack isn't available, as it is a classic, like the ST from "A MAN and A WOMAN".

I picked this one up recently. I hadn't seen it since it was released. It was a very quiet film that came and went quickly. Set behind the backdrop of car racing- it may have sent mixed signals about what audience it was trying to reach.

This is a character study piece- a story about a racer who doesn't have a personal life because of that life, and about a single mother with a teenaged son, who goes to work and comes home each night.

They meet after Newman has run and won a race in town- and after he stumbles across her after a party, just as she is closing her rent a car outlet for the night.

What follows is a very quiet, easy going courtship that spends its screen time building slowly and beautifully. We, as the audience, are allowed to see the occasional scar and barrier revealed and dropped with these characters. Newman and Woodward are really the only acting couple I've ever watched, who pull magic off 'on screen'. I think it's the reason why most try once or don't try at all. This film captured something very difficult to portray: honesty and finding a way through the hurtles. Perhaps they were tipping some of us off on how to do it- and showing why they've lasted so long together as a couple.

The racing, via Goldstone's direction, is done almost as visual poetry in the background. It's done in such a way as to never overpower the story of this family coming together. Terrifically handled. Dave Gruisin's score also sets the tone during both the racing sequences, and the emotional moments.

Richard Thomas is amazing as Charlie, the teenager. Watching him reach out to bond to Newman as a stepfather is nothing short of special. Father's and son's will love this because that's the way it should be- it's the kind of bond and loyalty that should form. And mothers will smile.

Robert Wagner is also terrific in what is really the toughest part of this film. His friendship/rivalry is portrayed with depth and he delivers in spades. Normally these roles are delivered, black and white. Wagner shows us levels with a character's pain and honesty that's realized a little too late.

Newman and Woodward have it all to play, here. The high and the low and they carry it off with a grace and ease. They also have an ending that's 'real'. It's up to them... and to us as the audience.

This is one for couples to watch and to learn from. Another hidden gem and a real story for an audience looking for some depth of feeling.

Highly recommended.

I hadn't seen Winning for maybe 25 years, so when I saw that it was available on VHS I thought it would be worth the $9.98. I recalled the premise of the movie - a racecar driver trying to find the balance between career and wife and son - but few of the details, but I remembered that I enjoyed it immensely.

Newman paired with Woodward, and Richard Thomas pre-John Boy! A tight script about marital infidelity coupled with fine directing and acting, mix in some grand cinematography at the old brickyard (shot during the actual race in 1968), and a fine Dave Grusin soundtrack, and the product is a real winner!

Where infidelity is concerned, we are often quick to blame one partner or the other. But if we are honest, we must ultimately see that both partners can be at fault. Winning shows that so often one partner can be responsible and the other to blame.

A thought-provoking movie, despite a glaring technical flaw - Newman carrying the Borg Warner trophy around like a bowling trophy (any racing fan would know the Borg Warner trophy weighs nearly 100 pounds; the winner actually gets a replica that stands about 14 inches tall and weighs about five pounds) - director James Goldstone gets the most not only from his actors, but also from the backdrop of the movie: the 1968 Indy 500. The excitement and pageantry of the "greatest spectacle in racing" are expertly captured. These finely tuned machines from the "golden era" of racing are shown gracefully circling the track, like a skater delicately balanced on a single skate blade. Even the wrecks, shown in agonizing slow motion, have a certain beauty about them, while one of Newman's pit stops manages to stylistically contrast sitting still while his car is being serviced with the exhilaration of being on the track and at speed.

For fans of Newman and Woodward and racing buffs alike, Winning is a winner. And at $9.98, it's a steal, too!

Entertaining tale set in the world of auto racing. Soundtrack is excellent - Dave Grusin's music is terrific.

Newman is a successful driver who marries a small-town divorcée (Joanne Woodward), soon after they've met... As usual, he devotes too much time to his career and ignores everything else, and, as in "From the Terrace," Woodward turns in desperation to another man--here a rival driver (Robert Wagner). Newman finds them in bed, and becomes estranged from her (again, as in "From the Terrace"), but after winning the big race, he realizes his life is empty, and attempts a reconciliation (the theme of the "winner" who's really a loser).

The relationship is superficially written, but Newman and Woodward make us care about it... Their first film together since "A New Kind of Love," it's their best since "The Long Hot Summer." They exude a naturalness, intimacy and spontaneous affection that one suspects come from their own feelings for each other... It is apparent in their first scene, where he is slight1y drunk, delightfully playful, and confident (but no longer unpleasant) in his attempt to pick her up; and she responds with smiles and applause at his tricks with a fireman's hat, but looks slight1y uncertain about this glamorous stranger...

Following their wedding, they sit on a swing, drinking beer from cans, talking and laughing quietly... She describes her previous loneliness, and he responds, typically, "Beer's a lot less complicated." They smile, she rubs his back and leans her head on his shoulder: these are people who really know each other, and who have attained a maturity about themselves...

Newman exhibits this maturity throughout... His loose, casual style, evident in "Cool Hand Luke," has given way to an almost complete mellowness... Perhaps because of the confidence gained from his directing experience, he has gotten rid of his mannerisms; and except for the intense determination he shows while racing, he's more relaxed than ever before... Although the script tells little about his past, there's a wealth of experience etched into his face, especially in his brilliant, silent reaction to finding the couple in bed--one of quiet resignation that suggests a lifetime of pain and frustration...

Newman has many fine scenes of quiet underplaying: his camaraderie with Wagner early in the film; his solitude after the race; his genuine warmth in the relationship with his stepson (Richard Thomas). The scenes in which they drink champagne and come home drunk together project for the first time in Newman's career a really paternal feeling--only vaguely suggested in strikingly similar scenes in "Hud."

Winning is a pretty good movie. I think what I appreciate the most about it is the old footage of Indy (1968) It really gives you insight into the differences between the sterile modern races and the kind of race that men REALLY let it hang out.

The story, on the other hand, is a little wishy-washy and overly dramatic at times and Richard Thomas really comes off sappy and weird. And the plot stays a tad on the thin side with no REAL dramatic moments or challenges (barr one) that the characters face. Still, the charisma of Paul on screen is very powerful.

I guess my biggest problem is editing. Shots are used to build up drama that never really plays out. Some shots are held uncomfortably long for no reason and the race footage wasn't pieced together to maintain continuity with a lap around Indy. Shots jump all over the track. However, some of the camera positions are very Grand Prix-esk and give you a good sense of speed.

The racing footage alone is enough to prop this movie, but some of the fluff in between could have used some polishing.