By Wallace Wyss
Photos used with permissions

As a Shelby historian, Wallace Wyss has earned his spurs in the Shelby Fan Club so to speak, with three books on Shelby since 1977. Recently he met congenial PR man Scott Black of Texas, who has as a client the Shelby family, and also met one of the producers, Adam Carolla in Monterey at a Honda party. Thanks to both of them, Wyss was invited to the exclusive premiere showing on Hollywood Boulevard on January 8 of the new Shelby American documentary.

(Photo copyright Merrick Morton, 20th Century Fox)

Ford v Ferrari is a fantastic old fashion movie movie, well written, well directed and cut, wonderful cast, nice relationships and just enough “truth” to suggest the major themes. You want great entertainment in a movie, do not miss FvF. It’s no documentary, but it’s a great ride – for anyone. You want history, the real rather than reel story? Read a book. I could make a suggestion? (Twice Around the Clock, Yanks at Le Mans https://www.yanksatlemans.com/about.html, per the Editor)
Tim Considine

That was an excellent review for which, thanks. I think I agree in large or small part with each of the comments too. Overall, I enjoyed it as a movie (it’s arrived here in Australia), but wearied of so many clank/bang downshifts and malevolent Bandini portrayal. Pity the Shelby character wasn’t half a foot taller but he did the job well. An era of great style and bravery, wasn’t it!
John Waterhouse

The film is littered with glaring inaccuracies. The Hollywood scriptwriters have tried to re-invent history. The props used for set dressing are not convincing (obviously modern replicas and some with clearly empty engine bays), some of the action scenes are beyond laughable and worst of all is the awful trait which movie directors seem to be addicted to – the mashing of the accelerator pedal and the aggressive gear change when the car is already supposed to be travelling flat out: there are many, many ways to pick seriously large holes in this movie, but nevertheless it’s an enjoyable way to spend two and a half hours. The characters aren’t convincing, but their acting is ok. Christian Bale’s accent had me laughing out loud. Anyone who doesn’t know about him would come away from this film thinking Ken Miles was Australian. Those criticisms apart, the look of the film was great, with clever cinematography. Go and see it anyway – it’s only 250 minutes of your life and you might enjoy it. In the same week I saw Midway, which I thought was much better, but I know less about the war in the Pacific than I do about sports racing cars. For all I know there’s a guy out there saying how inaccurate Midway is and listing all the faults.
Graham Earl

The producer said it was not based on a book. The book Go Like Hell, which 20th had bought, was resold to a TV company. I enjoyed it but it doesn’t go very far past ’66 whereas other histories do…(hint, hint SHELBY The Man, the Cars, The Legend).
Wallace Wyss

Thanks for Wallace Wyss’s perceptive review. Petra and I got an early screening here in Denver too, and his observations pretty much agree with ours. Bottom line – it’s a must-see for just about anyone, hard-core or not, because it’s all there – lots of riveting action, a touch of romance, character development, central hero, villains, pathos, super photography, and the plot line is (mostly) TRUE!
I think even ol’ Shel would have liked it. Oh, he’d have some sharp wise-ass commentary alright, but behind the facade he’d be preening his feathers. After all, he did an astonishing job … but OMG, the money! We were still dragging race cars around on open trailers when Ford’s big semi’s started showing up, chock full of cars, lifts, offices, machine shops, fork trucks, spares, interchangeable monster motors, switchable gear boxes and brakes … WHAAAT?! Ken of course was quick as lightening and knew his stuff. And I never thought of Lloyd as “that NASCAR guy.” Uh, USAC guy? Blazingly fast guy? Anyhow, we’ll see it again to glean any useful tidbits for our book, “Full Circle,” about the first Ferrari GTO. I know people are busy as hell, but don’t miss it (the film, and the book!)
Larry Perkins

Cornball crap. Pure and simple, and all the worse because this pretty much precludes a mature film about Shelby who was too ornery for M. Damon to even imagine.
Peter Manso

I saw a sneak preview and it’s a great movie! They captured the authenticity of the story. You don’t have to be a race fan or car guy to like this film. Superb action, good character development, drama with LOTS of humor. The pace and length are perfect. Could have shown more on the Ferrari side though. And I’m sure Miles and Bandini didn’t stare each other down going top speed, but it’s a movie. Bales will win the Oscar. I’m going again this weekend. Can’t wait to see it again.
Petra Perkins

I am also an automotive artist but, not the master artist that is Wallace Wyss. I’m a former SCCA sport car and Pro Rally driver, since 1965. I know the back story and yes, I’m one of those “gear heads” that tears racing films apart. I’ve worked on a couple, years ago.
I’m going to see this film and enjoy it because, I’m just glad the story is, at least partially, being told. When I saw the film clips, I laughed at the casting. I agree that Mat Damon is not only too short but also a lot “prettier” than Carroll Shelby at that age. And Jon Bernthal as Lee Iacocca, really? I met Mr. Iaccoca when I was driving Chrysler/Mitsubishi product rally cars in ’79 and ’80. As a teenager I saw Ken Miles and Carroll Shelby at Riverside International Raceway and Willow Springs many times. Good job on Christian Bale but his nose is a little too small. However, his facial expressions and demeanor seem to be right on the money. I can’t wait to see the uncut version.
Danny V. Johnson

Roger’s Models

Here is anoither exeample of the art of Roger Jackson, a 1903 Mercedes. Photo by Dale LaFollette

Thanks to all for the great comments! Yes, I realize how lucky I am to have these models, I tried to convey that to Roger as I considered him a very special friend, one that now I truly miss.
I have not photographed the other models, I shot these in a studio and will try to borrow it again for Roger’s Models Part 2. Roger did make others besides the ones that I have. He made a perfect model of an Amilcar which duplicates a car that belongs to a friend of mine, the same with a Chevron coupe that is raced by another friend.
We have a wonderful Museum here locally, the World of Speed Museum, 80,000 sq ft of properly displayed race cars and hot rods and I think Roger’s Models will be there someday.
Dale LaFollette

Great story! Beautiful models! In many ways, Roger seems to have captured the essence of the cars, which some fine modern commercial products don’t realize. I was particularly impressed with his solution to the wheels: the choice of transparent material rather than little spokes for the wheel centers really works, artfully suggesting the fragility of the cars of the period. Thanks for your story; I hope the collection finds a home where others can admire them and how they came to be.
James Fraser

Every one of the models captures its own absolute and unexplainable essence.
Thanks very much, and are all the 23x ROGER JACKSON models in the Dale LaFollette collection viewable online somewhere?
Jim Scammell

I’m always intrigued to see scratch-built car models and these are truly charming. In my neck of the woods – western New York State – I seem to be the only one building from scratch and it just so turns out that I’ve also built the 1921 Duesenberg and the 1914 Mercedes, both from brass, copper and aluminum in 1/18 scale.
Herb Miska

Incredible story, magnificent models! The Jimmy Murphy Duesenberg in which he won the 1921 Grand Prix at Le Mans is one of the few cars I can find that raced in the official US racing colors of white body with blue chassis and numbers. Jimmy did race the same colors at Indy.
David Palmeter

What an amazing story, a long-lasting friendship built on a common passion, delightful to read. And what amazing models, Dale has been the fortunate recipient of some truly remarkable models of some truly remarkable vehicles. I do hope this collection stays together and the story is widely told. Does anyone know of any other of Roger’s models in existence? Thank you, Dale for sharing this with us.
Mark Bennett

A Bit about our Editor

Great bio, Pete. But no mention of all the time you take with individual would-be subscribers who are lost in the system. Many thanks.
Dave Willis

The best part of VT for me has been knowing you as I love your enthusiasm and being able to tell all the folks that go to work every day and ask me what I do in retirement that I am employed without that hassle of actually being employed!
Dale LaFollette

Thanks for this biography. I really like your motto … “stay focused.”
Giovanni Petta

I loved this, Pete. It was so great getting to know you a little more. Keep up the great work!
Jodi Ellis

Good to meet you, even if it is online. and thanks for a great magazine – can’t do without my regular shot!
Michael John Shappard

Nice bio, with two very serious portraits. I’ll bet there is a great smile in there somewhere–you certainly make me smile, frequently!
Doug Milliken

It’s a good summing up. Even as a contributor, I didn’t know you were once a hands-on mechanic. I think it must be a source of pride that you were among the first to publish something from fledgling photographers, artists and writers new in the field and your nurturing helped them develop their craft more for the benefit of all of us enthusiasts who can’t make all the great events taking place around the world…
Wallace Wyss

Baby Bugattis

‘Interesting piece on beautiful small Bugattis, and they do seem to fit the definition of model too. One small criticism: please do be careful of grammar in such an article.

In the paragraph headed “But, but, you must be mistaken…,” “However” is not a conjunction, and “Whom” is not subjective. As used, the correct conjunction where “however” was used would be “but.” Otherwise the conjunctive adverb “however” should follow a period or a semi-colon. For “whom,” the correct word would have been “who” in that particular sentence, “who” being the subject in the clause “who are recognized…” I understand that “whom” may appear to be an object of being recognized, but the sentence uses “whom” as a subject.

I’m not trying to be picky, but those interested in preservation need also to work to preserve our language, a very precious thing indeed!
Serge Krauss, Jr.

Thanks, Serge, for ruining a great read, you remind me of Sister Ann my English teacher in HS.
Jack Shea

Hollywood or Bust for Ford v Ferrari…(Photo copyright Merrick Morton, 20th Century Fox)

Our intrepid reporter, having been invited to a sneak preview of Ford v Ferrari shown on November 6th, filed this review. The movie opens in a theater near you on November 15th.

By Wallace Wyss
Photos copyright Merrick Morton, 20th Century Fox

Movies about racing cost a lot of money to produce, and it is likely that the audience could end up just being hard core race car nuts watching it over and over. McQueen had his film Le Mans yanked away from him for going over budget; RUSH didn’t do that well, (I feel it’s partly because the driver’s faces were covered and you couldn’t read their expressions) and it seems that most racing movies seem to have a robot-like interaction between the characters.

Bales, as Ken Miles (left) has a myriad of expressions but Damon, as Shelby, has just three: grinning, stoic, and totally pissed off. (Photo copyright Merrick Morton, 20th Century Fox)

Ford v Ferrari is different. It’s more of buddy-buddy movie like Butch Cassidy and the Sundance Kid. Matt Damon plays Carroll Shelby and Christian Bale is cast in the role of Ken Miles, hired by Shelby to help make a winner out of the Ford GTs. (Read the author’s initial movie announcement)

It’s also the story of two very different companies slugging it out on a track in France. Ford is the newbie at Le Mans; they were at Indy, in drag racing and in NASCAR, but in the movie, Lee Iacocca convinces Henry Ford II that he needs to beat Ferrari to show the Europeans that, yes, Ford can do anything. And fair warning here; the film centers on Ford, and the Ferraris get roughly 10% screen time compared to the Ford GT40s.

Carroll Shelby was such an interesting guy; a WWII veteran, a failed chicken farmer, a self-taught car racer, a horse breeder, a car builder, big game hunter and a Le Mans winner (’59 for Aston Martin). But although he is one of the two lead characters, this is only a slice of his life, roughly a four-year period from about 1962 to 1966. I was dubious of Damon playing Shelby; too short, for one thing, but in the role, he was convincing, with that jocular manner most of the time, but hard as steel when it came to making a decision.

At Willow Springs (the same track Cobras were tested on back in the ’60s), there’s a scene where the impetuous Miles (Christian Bale) cops a trophy. Several racetracks were used in the filming, including portions of the real Le Mans track. (Photo copyright Merrick Morton, 20th Century Fox)

Nevertheless, Bale steals scene after scene, plus the scriptwriters play up on his character’s past, with references to Miles’ life as a WWII veteran (first Africa, then Europe with the British army) and later as an inept businessman who alienates customers by expressing his opinions in no uncertain terms, necessitating Shelby to go around and put out the fires Miles has started. It’s also the story of his marriage to Mollie, who wanted him to be a shop owner, but she finds out Shelby is trying to involve Ken in something that is definitely not shop keeping, involving cars that go 200 mph plus. There is no Shelby back story shown here (other than a glimpse of him driving an Aston years earlier); no wives, ex-wives, girlfriends, children, nada. This drama is about how Shelby must rein in a cantankerous employee.

The movie recounts the story of the finish of the victorious 1966 Le Mans when Miles was told to slow down for a three-abreast finish, and one sees the pain in Miles’ face acceding to the request, made more poignant by his death later on. Another memorable scene is when Miles fails to get his door closed at the start of Le Mans, and is driving at nearly 200 mph while trying to close the door.

The three-abreast finish for the Ford GT40s ordered by Ford management is depicted as a real downer for Miles. Yet in real life he soldiered on with the team, until his untimely death in testing the J-car that evolved into the Mk IV. (Photo copyright Merrick Morton, 20th Century Fox)

Just as there is a buddy-buddy relationship with Miles and Shelby, there is a lot of head butting between Leo Beebe, a slick Ford executive working for Henry Ford II, and Shelby. Tracey Letts does well portraying Henry Ford II and Josh Lucas is your typical butt-kissing executive, trying to tell Shelby what to do. When Shelby ignores him, Beebe claims any success as “his” idea. The running plot is that Beebe hates Miles but can’t get him fired from the team because Shelby has convinced the Deuce that he is vital to the mission.

Besides the battles between the Ford execs and Shelby and crew, a larger battle is portrayed between Ford, who wants to have a better image in Europe, and Ferrari. Enzo is shown as a minor king, who walks out of negotiations with Ford over details of the purchase of Ferrari by Ford (the film implies Ferrari was also dealing with Fiat).

Noah Jupe does a bang-up job portraying Miles’ son, and greatest fan.(Photo copyright Merrick Morton, 20th Century Fox)

I don’t remember racing movies with memorable child actors, but Noah Jupe, the lad playing Miles’ son, does an excellent job. You cringe each time he goes to the track or Shelby factory and sees his father drive, because you (and anyone who Googles Ken Miles before they go to the movie) know the tragic death that awaits Dad. Jupe is matched by Caitriona Balfe who plays Mollie and shows her fears that her husband’s profession has some overwhelming dangers.

I have been watching racing movies ever since Mickey Rooney’s The Big Wheel. They all have similar plots, and like earlier race epics, Ford v Ferrari is made for the general family, not for racing fans who know all the ins and outs. The hardcore fans will pick it apart, noting Enzo never went to Le Mans in the sixties, that Shelby was not involved in the GT40 until 1965, etc., but if the one-hour longer version Director James Mangold referred to in an interview is ever released, you can bet the fans will buy that in droves to see the scenes that were left on the cutting room floor.

The most frequent publicity photo choice is unfortunate and misleading, because it makes the 6-foot plus Shelby, (played by Damon) look shorter than Miles. (Photo copyright Merrick Morton, 20th Century Fox)

The story of Texas wheeler-dealer Carroll Shelby was itching to be told but this is not it. I think Shelby’s story might work in a TV series which could illuminate many different phases of his life. But as it is, Ford v Ferrari is an entertaining film even for those who never attended a car race – and for the rest of us, well, we know you’ll go anyway.

THE AUTHOR: Wallace Wyss is the author of SHELBY: The Man, the Cars, the Legend and 17 other books. As a fine artist, he is portraying sixties racing in oils, and can be reached about the art at Mendoart7@gmail.com