Red Line 7000 (Paramount Pictures) (1965)

SYNOPSIS (Not For Publication) Sudden death in a flaming crackup at Daytona ends the career of race driver Jim Parsons. Mike Marsh, his team mate (JAMES CAAN) and Banjo Baker, his boss (NORMAN ALDEN), return to their motel after the funeral to find Parsons’ girl friend, Holly MacGregor (GAIL HIRE), bitterly blaming herself for his tragic accident. Holly believes she is a jinx to men. A few days later an arrogant, handsome young driver named Ned Arp (JOHN ROBERT CRAWFORD) turns up from Darlington race track and succeeds in replacing Parsons on the team. He also coolly seduces Baker’s innocent sister Julie (LAURA DEVON). But Arp is an ace driver and in the hard-fought Charlotte race he places second, just behind Mike Marsh. Meanwhile Holly MacGregor has become co-owner of a cafe with Lindy Bonaparte (CHARLENE HOLT), widow of a racer. It is a popular meeting place for drivers and their girls. When Dan McCall (JAMES ‘‘SKIP'’ WARD) arrives from Paris to join Baker's team, Holly strikes up an acquaintance. Although he attracts her, Holly resists Dan’s proposals. She is still deeply affected by Parsons’ death and she suspects that Dan is conducting a romance with his very special French import, Gabriele Queneau (MARIANNA HILL). McCall and Gabriele contend, however, that they are just friends. And as Dan begins to seriously fall in love with Holly, Gabriele is drawn to Mike Marsh. Now the big race at Darlington takes place and Ned Arp streaks home the winner. But when Julie throws a victory party for him, he fails to show. She has finally gone to bed, worried and hurt, when Arp lurches in. He has been celebrating elsewhere, and in an exchange of honesty Arp cruelly boasts that he intends to lead his life however he pleases. As a consequence of this rebuff to his sister, Banjo Baker warns Arp he will be tolerated only so long as Julie continues to care for him. Arp responds by decamping to California, leaving Julie brokenhearted and Banjo without a driver. Mike Marsh, meanwhile, is being led somewhat against his will into a love affair with Gabriele Queneau. He finds her exciting and desirable but he cannot overcome his distaste for her apparent promiscuity. And on another quarter Dan McCall continues his fruitless pursuit of Holly MacGregor. She wants to be loved, but cannot shake the notion that she is bad luck for men. Eventually Dan breaks down her resistance, only to face a new problem. He learns from Gabriele that Mike Marsh is nursing a grudge against him and that it might explode into violence. Gabriele’s fears come all too true during the eventful race at Charlotte, when Marsh cuts in front of McCall causing him to crash. Miraculously McCall survives. Remorseful and disgraced, Marsh makes a sincere attempt to repair their friendship. He not only succeeds but wins the wholehearted love of Gabriele as well. Just before the spectacular Daytona race, Ned Arp reappears with a gorgeous girl in tow. Julie’s humiliation appears to be complete, but when Arp crashes during the race she cannot suppress her love. She rushes to his bedside, there to discover that he has lost an arm. After a touching, highly emotional reconciliation, Ned finds a way to overcome his handicap and resume driving. Banjo Baker’s boys are back in business. CAST PERE SARI ON feo 5 3 eae A ah GAIL HIRE Sark 2, ae gia oie ete Pere eg emcee MARIANNA HILL Holly MacGregor Gabriele Queneau HOM fe ark ce, oe, Pe LAURA DEVON iitde 15 Re SRE i Wee a: ie eam MMI: Ot CHARLENE HOLT didenngt > SRLS MEST aaer kahee enmemarannne sche hes 1 JAMES CAAN Dan AMG es. el ., a ee JAMES WARD PO ame ee ate ee, rene eae NORMAN ALDEN GG: tien yet ade JOHN ROBERT CRAWFORD and GEORGE TAKEI CAROL CONNORS DIANE STROM CISSY WELLMAN DEE HARTFORD ANTHONY ROGERS CREDITS Director-Producer, Howard Hawks; Associate Producer, Paul Helmick; Second Unit Director, Bruce Kessler; Director of Photography, Milton Krasner, ReSG.: Special Photographic Effects, Paul K. Lerpae, A.S.C.; Process Photography, Farciot Edouart, A.S.C.; Screenplay, George Kirgo, Based on a story by Howard Hawks; Music Score, Nelson Riddle; Unit Production Manager, Andy Durkus; Assistant Director, Dick Moder; Second Assistant Director, Dale Coleman; Art Directors, Hal Pereira and Arthur Lonergan; Costumes, Edith Head; Film Editors, Stuart Gilmore and Bill Brame. See ee aR SEASOR ESSN Oe RUNNING TIME: 110 MINUTES | Still # RL/Spec/1 Mat 3A FURY AND EXCITEMENT OF THE WORLD OF RACING provides the tense and dramatic setting for Howard Hawks’ elaborate and Technicolor production of “Red Line 7000,” a Paramount Picture OPEMEN Geren « «duct oe ee es Theatre. The film deals with the lives of three race drivers and the girls they love. The cast is filled with new faces and talent that’s sure to be tomorrow’s bright stars. ““Red Line 7000” stars Gail Hire, James Ward, Laura Devon, John Robert Crawford, Marianna Hill, James Caan, Charlene Holt and Norman Alden. Based on a story by producer-director Hawks, the screenplay was written by George Kirgo. The dynamic musical score was composed by Nelson Riddle. Howard Hawks Races Past Own Record As Starmaker With “Red Line 7000” Howard Hawks, Hollywood’s legendar brightest luminaries, has surpassed even his own amazing record with hi duction, “Red Line 7000,” a new Paramount Picture opening Hawks introduces not one or two, but eight exciting young talents in the leading roles of the fascinating film about young people in love, set in the thrilling world of race car driving. They are Gail Hire, James Ward, Laura Devon, John Robert Crawford, Marianna Hill, James Caan, Charlene Holt and Norman Alden. The bright new stars were personally chosen by producer-director Hawks after interviewing and testing more than a hundred candidates. The distinguished film-maker considered the unique motion picture an ideal vehicle for launching exciting, fresh talents, and he wasn’t satisfied until he found exactly the performers he had envisioned. The situation, of course, was not a new one for Hawks, who over the years has discovered or established the careers of more stars than any other man in Hollywood. In the past, he had made stars of Paul Muni and George Raft in “Scarface,” Montgomery Clift in “Red River,” and Pat O’Brien in “The Front Page.” However, it has usually been the girls who felt he was their best friend, for Hawks has always enjoyed creating a picture with an established male star — a Cary Grant or John Wayne—and an unknown actress. He has employed this technique to bring fame and fortune to such now renowned actresses as Carole Lombard, Rita Hayworth, Jane Russell, Lauren Bacall, Joanne Dru, Joan Collins and Angie Dickinson. Often asked about his formula for spotting exceptional talent in Copyright © 1965 by Hal B. Wallis and Joseph H. Hazen. Permission granted for newspaper and magazine reproduction. (Made in U.S.A.) an unknown, Hawks insists the first secret in discovering stars is “to be lucky.” “The second,” his explanation continues, “is to keep searching. I go to Little Theatre plays in Hollywood, watch television and even pay close attention to TV commercials.” He also feels that high fashion modeling produces many future stars, because intelligent girls eventually grow tired of modeling and begin looking for acting jobs. He constantly interviews new people too, but even after forty years as a producer, he maintains it still takes him at least six interviews to tell whether or not a newcomer has anything more than ambition. Hawks himself is as colorful as any of the figures he has discovered for the screen. Tall, broad-shouldered and slim, he has the tastes and hobbies of a sportsman. He has built and raced sports cars himself, piloted his own plane, sailed a yacht, bred and raced horses, and was once the hunting companion of Ernest Hemingway and Gary Cooper. “Red Line 7000”—the title refers to an engine speed beyond which it is dangerous to operate a racing car—was written for the screen by George Kirgo from a story by Hawks. It is enhanced with costumes designed by Hollywood’s famed Edith Head and a musical score composed by the popular Nelson Riddle. Set against the thrilling background of dangerous stockear racing, the film deals with the young drivers—their loves, their fears, their joys and their tragedies. eo & Still #10413/92 MatiA UNLUCKY-IN-LOVE — Laura Devon is just one of the new stars being introduced in “Red Line 7000,” an exciting drama about the men and women of the “speed breed.” Directed and produced by Howard Hawks and filmed in Technicolor, the Paramount Picture opens ... . atthe! sorah.. Theatre. y starmaker who has discovered many of the screen’s s new Technicolor prowees, atthe... 2!>'. 2 "Theatre. 7