Nice retro-docu (1982) https://www.youtube.com/watch?v=5SS0l4sx56A

The female “protagonist” of Le Mans, the German Elga Andersen, married into the Jewish clan millionaires named Gimbel. https://en.wikipedia.org/wiki/Category:Gimbel_family

I only found the documentary from 2015 here. Higher resolutions only with registration or payment (I don’t understand Chinese). You have to expect interruptions by ads, click them away and continue the video. Unmute the sound. https://www.bilibili.com/video/BV1VD4y1B7HT/

https://en.wikipedia.org/wiki/Steve_McQueen:_The_Man_%26_Le_Mans

“Jerry Seinfeld owns the original Porsche 917K driven by Steve McQueen in the film ‘Le Mans.’ He purchased the car in 2001 and kept it in his collection for about two decades. In early 2025, the car was put up for auction by Mecum Auctions, with an expected price in the eight-figure range. During the auction, a bid of $25 million was made but was not accepted by Seinfeld, who later revealed in a podcast that the car was sold privately afterward to an anonymous buyer. Thus, while Seinfeld owned the iconic McQueen car and it was associated with a $25 million bid, he did not buy it for that amount; rather, the car was sold for a very high price recently after the auction.”

AI says, Katzin & Kleiner were Jews (but Robert B. Hauser & Donald W. Ernst, two German surnames, obviously not). Further:

The financial performance of the 1971 film “Le Mans” starring Steve McQueen is often described as disappointing, particularly in sources like Wikipedia. While the film grossed around $14.4 million against a production budget of $7.6 million, which on the surface appears to be a commercial success, the reality is more nuanced. In the film industry, especially in the 1970s, the production budget was only part of the total expenditure. Additional costs such as marketing, distribution, and interest often significantly increased the amount needed for a film to break even. Moreover, only a portion of the box office gross-typically around 40–50% at the time-actually returned to the studio, meaning that the revenue retained by the producers was often insufficient to cover all expenses.

Furthermore, expectations for “Le Mans” were extremely high due to Steve McQueen’s star power and the ambitious, innovative production. The film’s authentic depiction of motorsport and its technical achievements were praised, but the lack of a strong narrative and limited mainstream appeal resulted in lower-than-expected audience numbers. While the movie was not an outright flop and did generate moderate earnings, it failed to meet the high financial and critical expectations set by the studio and the industry. Over time, however, “Le Mans” has achieved cult status among motorsport fans and cinephiles, and its reputation has improved considerably. In retrospect, the film’s initial classification as a commercial disappointment reflects both the financial realities of the industry and the context of its release, rather than a simple calculation of budget versus gross.

Read also video description.

https://www.youtube.com/watch?v=yH0Kq3E6jB8

The film “Le Mans” starring Steve McQueen was shot in 1970, with principal photography beginning during the actual 24 Hours of Le Mans race in June and continuing until November of that year. Despite completing filming in late 1970, the movie was not released until October 1971. The main reasons for this delay were the extraordinary complexity and numerous challenges faced during production. The shoot was plagued by accidents, the absence of a finished script, and changes in the directing team. After filming wrapped, post-production proved to be extremely time-consuming, as the filmmakers had to edit together a coherent narrative from hundreds of hours of footage. These factors combined to extend the production timeline, resulting in the film’s release more than a year after shooting began.

I appreciate the semi-documentary style and the minimal use of dialogue. Dialogue is sparse-famously, the first 36 minutes feature almost no spoken lines from the main characters, with only the circuit announcer being heard. This deliberate restraint allows viewers to immerse themselves in the sensory experience of racing: the roar of engines, the visuals of speed, and the rhythm of the event, much like instrumental music creates an emotional space without words.

McQueen’s vision was to avoid the kind of repetitive, often superficial dialogue that can dominate traditional narrative films. Instead, he wanted the audience to feel the race, to enjoy the craft and spectacle on their own terms, much as one might repeatedly enjoy a piece of music, where atmosphere and imagery take precedence over exposition. This approach gives “Le Mans” its unique character and enduring appeal, especially for viewers who value cinematic experiences that leave room for personal interpretation and sensory enjoyment.

Reminds of “2001: A Space Odyssey”, or Ron Fricke’s epic productions. Btw., Fricke has a German surname. According to interviews and bio info, he spent parts of his childhood traveling through Europe, including time living in Germany (Stuttgart), which influenced his artistic sensibilities. His background and name reflect German heritage, even though he was born and raised primarily in the United States. To Steve’s credit, I must add that his surname has nothing to do with “queen”, at least in terms of linguistic history.

https://en.wikipedia.org/wiki/McQueen_(surname)

The rival film “Grand Prix” with James Garner was released significantly earlier than “Le Mans.” Directed by Jew Frankenheimer (co-produced by Garner’s Cheerokee company), “Grand Prix” premiered in 1966 and is considered one of the first major, technically groundbreaking racing films. It was notable for its innovative editing, spectacular on-board camera work, and the involvement of real Formula 1 drivers such as Jim Clark, Jack Brabham, and Jochen Rindt.

At the time, there was a kind of race between studios: MGM released “Grand Prix” in 1966, while Steve McQueen was originally working with John Sturges on a competing project called “Day of the Champion.” However, that project was delayed and eventually shelved due to various issues. It wasn’t until several years later that McQueen was able to realize his own racing film with “Le Mans,” which was shot in 1970 and released in 1971.

https://www.youtube.com/watch?v=S-DrxWGDeKI
https://www.youtube.com/watch?v=fPEaTN522XQ

AI says:

“Grand Prix” was considered a success for several reasons, even though its production costs were comparable to those of “Le Mans.” The film had a budget of around $9 million and grossed approximately $20.8 million at the box office, making it one of the ten highest-grossing films of 1966 and earning MGM a substantial profit at a time when the studio was struggling financially. In contrast to “Le Mans,” “Grand Prix” was both a critical and commercial hit, winning three Academy Awards for its technical achievements and receiving widespread acclaim for its innovative cinematography, immersive sound design, and dramatic storytelling.

The film’s success can be attributed to several factors. It combined real Grand Prix racing footage with a compelling fictional narrative and featured an international ensemble cast, which broadened its appeal beyond just motorsport enthusiasts. Director John Frankenheimer’s approach brought the excitement and danger of Formula 1 racing to mainstream audiences, making the sport more accessible and thrilling to viewers who may not have previously followed it. The use of Cinerama and Super Panavision 70 also provided a spectacular visual experience that drew audiences into theaters.

In summary, “Grand Prix” was seen as a box office and critical success because it not only recouped its costs and generated profit, but also elevated the racing film genre with its technical innovations and broad appeal, something “Le Mans” struggled to achieve despite similar expenditures.