As a child of the ’70s and a lifelong Ferrari enthusiast, I can attest that the iconic Daytona 365 GTB/4 holds a special place in my heart. It was the epitome of Hollywood glamour and automotive excellence, gracing silver screens and the garages of stars alike during my formative years. From Elton John’s “Goodbye Yellow Brick Road” album cover to Eric Clapton’s prized possession, the Daytona was a testament to the decadent allure of that decade.
Among cars from the 1970s, none captures more Hollywood glamour than the Ferrari 365 GTB/4, popularly referred to as the “Daytona.” It was not only desired by film stars and musicians, but it also made its own mark on the silver screen. For instance, it played a crucial part in Robert Altman’s film noir tribute, “The Long Goodbye,” starring Elliott Gould. Most notably, a convertible model appeared in the 1976 film, “A Star Is Born,” with Kris Kristofferson driving and Barbra Streisand as his passenger.
Currently, much like a popular movie received a critically acclaimed remake some time ago, the Ferrari 365 GTB/4 is experiencing a resurgence. Ferrari’s design chief, Flavio Manzoni, often emphasizes that every car produced by this iconic Italian automaker embodies the zeitgeist of its era. However, he has been open about the fact that the design influences for their latest offering, the $459,000 two-seater, the 12Cilindri, can be traced back to the Daytona model. Manzoni explicitly acknowledges that the front end and overall shape of the new car are reminiscent of the classic Daytona design.
1968 saw the debut of the Daytona, an event that significantly altered the course of world history. This year was characterized by student demonstrations, tragic political assassinations, preparations for the moon landing, and the rise of a fresh wave of influential Hollywood filmmakers.
In the late ’60s, I found myself captivated by the evolution of automotive design that mirrored societal trends. The automobile aesthetic shifted towards a more minimalist, geometric style, reflecting the Brutalist architectural movement’s rise. Luxury vehicles took on a bunker-like appearance, which made sense considering the global turmoil – urban unrest, bombings, and kidnappings. Sports cars and supercars also embraced this trend, adopting sleeker, lower profiles with sharper edges, as if they were designed to evade detection or cut through adversity.
The Daytona significantly contributed to setting this trend. Unlike its immediate predecessor and most Ferraris preceding it, it lacked the voluptuous, curvaceous design with prominent headlights resembling eyes and a smirking grille. Instead, it featured a sharp-edged prow that seemed indifferent to meeting your gaze, accompanied by a nearly invisible grille concealed beneath its pop-up headlamps. This was a dramatic departure from tradition.
Its modern, avant-garde design, its sleek and striped leather interior, its circular dashboard reminiscent of a rocket ship, and its powerful 347 hp V12 engine made it an undeniable success. This car outperformed both its previous versions and its competitors in sales, and it was especially sought after within the entertainment industry during the 1970s.
Back in the day, I was part of an exclusive club – the proud owners of a certain luxurious grand piano. Legends like Roger Waters and Eric Clapton were fellow members, their fingers dancing gracefully across its keys. After his groundbreaking album “Goodbye Yellow Brick Road,” Elton John joined our ranks, splurging on this magnificent instrument. Richard Carpenter, the soft rock maestro alongside his sister Karen of The Carpenters, owned one too, showcasing it on their platinum-selling 1973 album “Now & Then.” Evil Knievel, the daredevil himself, added one to his collection, and a few years later, it found a new home with New York Yankees slugger Reggie Jackson. Even Sydney Pollack, the illustrious film director, was part of our exclusive circle. We were bound by our love for this grand piano, a silent witness to the melodies that echoed through history.
In the ’80s, Sammy Hagar, Van Halen’s vocalist, acquired a second-hand one. Later on, Patrick Dempsey, an actor and racer, also bought one, expressing that it was the poorest vehicle he had ever possessed.
In its time, the Daytona was featured prominently in various films. It made appearances in “The Long Goodbye” and “A Star Is Born”, and was also one of the cars that were stolen in the 1974 version of the movie “Gone in 60 Seconds”. Before Crocket and Tubbs exchanged it for a Testarossa, the car enthusiast Michael Mann chose the Daytona as the preferred vehicle for his detective characters in the TV series “Miami Vice” during the 80s. However, it was a replica, not an actual Ferrari that was used on set.
The latest 12-Cylinder model bears a resemblance to its ’70s counterpart in appearance. Just like the original, it boasts an impressively powerful V12 engine. In a sense, it harks back to a bygone era – though perhaps in a more traditional or even backward manner. While other car manufacturers are embracing the efficiency and emission reductions offered by turbocharging and electrification, Ferrari’s thirsty yet melodious V12 engine can be seen as an anachronism, almost a middle finger to climate change crises.
Isn’t that exactly what a Ferrari represents? Just like famous musicians, actors, and athletes who have admired it for years, an extravagant sports car symbolizes defiance against everyday normality, going beyond what societal expectations would allow. Will its previous model’s success be replicated? We’ll find out soon – keep an eye on the streets of Beverly Hills, Malibu, and Los Feliz once it starts delivering in America at the beginning of next year. Our prediction is a resounding yes!
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2024-10-03 20:55