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Wraith Design: Iron Fist In The Velvet Glove

“Form Language” of Rolls-Royce’s Wraith

Rolls-Royce Wraith With GPS Guided Transmission

More on the “Fastback Rolls”

Personal Rally Phantom

Extended wheelbase, of course.

Rolls-Royce Wraith

I think the brakes failed @ 1:28…

Early Days of Flight & Rolls-Royce

Building a Rolls-Royce, Start to Finish

RREC at Rockingham Castle

by Gunnar Heinrich ::: img via Flickr ::: 1934 Rolls-Royce Phantom II Continental Keller Sports Saloon

NESTLED comfortably in Leicestershire, roughly two hours car journey up the M1 from London, rests a magnificent castle – the foundations of which were originally commissioned by no less than William the Conqueror circa 1095 A.D. Apart from holding off enemy forces and securing the countryside, Rockingham Castle played a lighter role this last weekend in hosting the Rolls-Royce Enthusiasts’ Club Annual Rally & Concours. For true Royce and Bentley connoisseurs, the event was in all likelihood without peer – as a thorough representation of pre and post war cars bowed and stood tall for a large, appreciative gathering.

To have a look at the many models represented click the below link for a comprehensive presentation.

Thanks, Philip!

[Flickr]

Indecent Proposal: High Rolling

by Gunnar Heinrich ::: IMG Viacom ::: Indecent Proposal | Rolls-Royce Silver Spur Touring Limousine

AS car movies go, Indecent Proposal really doesn’t factor on any scale. So, anyone who thinks of a car flick as purely The Italian Job can stop reading. And as movies go, meh, Indecent Proposal does a pretty good job of transporting the viewer for 117 minutes. Worth watching once.

Adrian Lyne’s sultry 1993 drama tightly focuses on the Vegas-born love triangle between a young and very-much-in-love couple – Diana and David Murphy (Demi Moore and Woody Harrelson) and a brazen billionaire with a suitably robust name – John Gage (Robert Redford in a kind of Gatsby reprise). Gage spies the sweetly seductive Diana and makes – you guessed it – an indecent proposal to husband David: $1,000,000 for one night with your wife.

Of course I should mention that this story follows the Savings & Loans crisis. So, the economy’s still shaky and our young couple finds themselves in deep $#!t with the bank over a sure-thing real estate investment. The solution? Head to Vegas and get lucky.  And they do! At first. But then they try doubling down a night’s winnings on red the next morning and – as the house always does – it wins. And they lose.

Thus, Gage’s money proves too good – too crucial – to turn down. This coup affords Gage the perfect opportunity to work on a different kind of proposal to Diana.

He makes his case for forever and a day in the grandest way, of course. Besides a helicopter rider to a staffed super yacht off the coast of Santa Barbara, there is a Rolls-Royce Silver Spur Touring limousine that’s cast as the princely chariot to whisk Gage and Diana between points spectacular.

BTW, to drive home the economic disparity, Mr. Murphy gets by with an old Citroen 2CV (an unlikely choice for getting around SoCal, but hey, suspension of disbelief).

A dutiful driver/bodyguard/get-it-done-guy named Shackleford (played with rye skill by Seymour Cassell) helms the Silver Spur limo with bravado in the various bridge scenes between destinations. His presence gives us calm assurance and bit of humor amidst romantic tension.

While Redford’s character would likely be driving his own Aston today, when this film first bowed before audiences everyone’s concept of luxury was still firmly rooted in the ’80s.  So that the film’s writers chose a limo as the ride for the guy-with-all-the-cash was period perfect. That the writers chose a then-modern Rolls limo tells us that Gage wasn’t some run-of-the-mill-rich-guy riding in a run-of-the-mill Town Car that could (and did) feature in The Wedding Singer.

No. Gage is sharp. Sensitive. Discerning. But not so Richy-Rich to be chauffeured in a Phantom V with ’50s rolling fenders.

But, alas, luxurious isolation, however fendered, isolates luxuriously. The Rolls is a potent onscreen symbol. We get a visual sense from riding in the back of the chariot with Gage and Diana that there’s a vast disconnect between Gage and the real world – a world where Diana really belongs and he owns (if from afar).

Throughout the film, the Silver Spur limo centers each stage of Diana’s relationship with Gage. As transport for unlikely romance goes, the Royce fits the bill suitably.