During the 1960s and into the 70s, several really great race films debuted which were set in Europe and which starred America actors, such as "Le Mans" (Steve McQueen) and "Grand Prix" (James Garner). While "Bobby Deerfield" is about Formula-1 racing, is set in Europe and stars a big America star (Al Pacino),it's not much like these other two films...mostly because the emphasis definitely is NOT on racing but on a relationship between the lead and a strange woman. It bombed with the public back in 1977 and isn't considered by many to be a classic...unlike these other race films. In fact, some consider it among Pacino's worst pictures. But is it really that bad? Is it worth your time?

Bobby (Pacino) has been a successful race driver in Europe and this does make you wonder why he isn't driving in the States. But regardless, his life is changed when he meets Lillian (Swiss actress, Marthe Keller).

Now the relationship between Bobby and Lillian that follows is very strange...as if it's between caricatures instead of real people. Lillian often talks in riddles or says outrageous things (such as her long rant about phallic imagery and car racing) and this makes her VERY difficult to believe or even care about at all. As for Bobby, it summed it up when he told her flat out that she was confusing him and what she said often didn't make any sense. It really feels like in many scenes that she's from some pretentious European art film and Pacino is just sitting there...baffled by the whole thing! I am sure audiences felt much the same.

So let's cut to the chase. Despite Lillian being, at best, an acquired taste, you eventually learn that she's dying and the film becomes a tragic romance, much like "Love Story". The problem is that by then, many viewers will dislike Lillian so much that they are left not caring...or hoping she'll go sooner than later! In addition, expecting Bobby to care so much seems to be a stretch.

Overall, a film that obviously confused a lot of viewers. Most, I assumed, were expecting a racing film with lots of action. Instead, there's practically no action and the film is about existential angst....which might appeal to folks to love Ingmar Bergman films but probably not people wanting to see a racing or Pacino picture. To me, it was boring and I felt very disconnected from the picture...and much of it was because I disliked Lillian so much. On the plus side, and there aren't a lot of pluses, the European locations made for a pretty film...so it's not a total waste of time.

By the way, if this film leaves you cold and you need a pick me up, try "Talladega Nights"...a race film that is pretty much the complete opposite in every possible way! Yes, there's romance and racing but otherwise you would NEVER mix up the two movies!!!

Esteemed screenwriter Alvin Sargent, working from the novel "Heaven Has No Favourites" by Erich Maria Remarque, seems to have overdosed here on a cinematic double-feature of "A Man and a Woman" and "Love Story". American racecar driver Bobby Deerfield, in France to drive in the Grand Prix, refuses to get back on the track until it can be determined why another driver perished in a fiery crash; while visiting an injured comrade at a Swiss medical clinic, Bobby meets an enigmatic young woman who talks in riddles ("Are you sick?" he asks her. "Do I look sick?" she answers). Sydney Pollack has directed this film for its images, not its characters. We are offered a color-supplement spread of European bridges, canals, hotels, boats, and hot-air balloon rides in place of living, hurting people. In the lead, Al Pacino scratches the surface of a performance, but cannot dig any deeper with the ridiculous dialogue and situations he's been given (at one point, Pacino is required to do a Mae West impression, and even this falls flat). Beautiful Marthe Keller is the chipper but frightened, fading love-interest, who is not above flashing some skin. The movie attempts not to romanticize death but instead to romanticize the FEAR of dying. It's dead, all right. *1/2 from ****

In prime 1970s fashion, the beginning of this movie, as well as many scene transitions, are shown with long shots, awkward zooms, lengthy silences, and random cuts. During the first ten minutes, I wondered what I was getting myself in for, besides two solid hours of Al Pacino eye candy. The good news is my hobby of staring at beautiful people on the screen won out, and I was rewarded by a really beautiful film . . . and two solid hours of Al Pacino eye candy.

Ladies, this is what a chick click looked like in the 1970s. A closed-off, cold racecar driver can't resist the kooky, outspoken woman he meets by chance, and his soul learns about love and life. If your boyfriend sits through this movie with you, keep him. There's nothing manly about this movie, even including the very brief racing scene and the presence of Al Pacino.

Somehow, director Sydney Pollack knew exactly what women in 1977 wanted to see and filmed it. Even despite the 1970s camera angles and the European pacing, this movie resonates with women. Every woman wants to meet a man who's lost his passion for life; every woman wants to be able to be completely herself, win the guy, and have him fall so desperately in love with her he'll feel his world will end without her. Every woman wants a man to look at her the way Al Pacino looks at Marthe Keller. Ladies, rent this movie, fall in love with Al Pacino, and then go rent Frankie and Johnny.

On a more serious note, this movie is a drama. I'd hate to recommend it and have some unsuspecting female watch it thinking it's on par with Pillow Talk. It's more on par with Love Story, but it's an infinitely better film. Marthe isn't annoying or riddled with an entitled attitude, and Al has so many layers of love, pain, gratitude, and sorrow in his expressions, it's just rude to compare him to Ryan O'Neal.