Red Line 7000 (1965)

110 mins | Melodrama | 1965

Director:

Howard Hawks

Producer:

Howard Hawks

Cinematographer:

Milton Krasner

Production Designers:

Hal Pereira, Arthur Lonergan

Production Company:

Laurel Productions
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HISTORY

Racetrack location scenes filmed in Daytona Beach (Florida), Darlington (South Carolina), Charlotte (North Carolina), Riverside (California), and Ascot (England). Boggs replaced Krasner as photographer during production. ...

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Racetrack location scenes filmed in Daytona Beach (Florida), Darlington (South Carolina), Charlotte (North Carolina), Riverside (California), and Ascot (England). Boggs replaced Krasner as photographer during production.

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CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
2nd unit dir
Dick Moder
Asst dir
1st & 2nd asst dir
PRODUCERS
Assoc prod
WRITERS
PHOTOGRAPHY
Dir of photog
Addl photog (see note)
Photog racing seq
ART DIRECTORS
Art dir
Art dir
FILM EDITORS
Film ed
Film ed
SET DECORATORS
Set dec
Prop master
Props
COSTUMES
Cost
MUSIC
Mus score & cond
SOUND
Sd rec
VISUAL EFFECTS
Paul K. Lerpae
Spec photog eff
process photog
MAKEUP
Hairstyle supv
PRODUCTION MISC
Andrew J. Durkus
Unit prod mgr
Prod mgr
Scr supv
Coop
SOURCES
SONGS
"Wildcat Jones," words and music by Carol Connors and Buzz Cason; "Let Me Find Someone New," words and music by Carol Connors and Nelson Riddle.
SONGWRITER/COMPOSER
DETAILS
Premiere Information:
Charlotte, North Carolina, opening: 9 Nov 1965
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Laurel Productions
10 November 1965
LP31985
Physical Properties:
Sound
Color
Technicolor
Duration(in mins):
110
Country:
United States
SYNOPSIS

Jim Loomis, a stock car driver on Pat Kazarian's racing team, is killed in a Daytona race the day before his fiancée, Holly MacGregor, arrives. Holly, who is befriended by members of the racing team, feels that she is responsible for Jim's death, but she regains her self-control and joins another racing widow, Lindy Bonaparte, in operating a cafe. A new driver, Ned Arp, arrives to take Loomis' place on the team, and Pat Kazarian's sister Julie falls in love with him. Ned leaves the team after winning a race, however, feeling that he can do better on his own. Dan McCall comes to join the team, bringing with him from Paris his girl friend, Gabrielle Queneau. He falls in love with Holly; and Mike Marsh, another driver on the team, becomes interested in Gabrielle. Mike is jealous of Gabrielle's earlier affection for Dan, and, thinking them still lovers, tries to kill Dan on the racetrack. Dan survives the crash and forgives Mike, who is reconciled with Gabrielle. Holly agrees to marry Dan, and Ned, who has lost a hand in an accident, is comforted by ...

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Jim Loomis, a stock car driver on Pat Kazarian's racing team, is killed in a Daytona race the day before his fiancée, Holly MacGregor, arrives. Holly, who is befriended by members of the racing team, feels that she is responsible for Jim's death, but she regains her self-control and joins another racing widow, Lindy Bonaparte, in operating a cafe. A new driver, Ned Arp, arrives to take Loomis' place on the team, and Pat Kazarian's sister Julie falls in love with him. Ned leaves the team after winning a race, however, feeling that he can do better on his own. Dan McCall comes to join the team, bringing with him from Paris his girl friend, Gabrielle Queneau. He falls in love with Holly; and Mike Marsh, another driver on the team, becomes interested in Gabrielle. Mike is jealous of Gabrielle's earlier affection for Dan, and, thinking them still lovers, tries to kill Dan on the racetrack. Dan survives the crash and forgives Mike, who is reconciled with Gabrielle. Holly agrees to marry Dan, and Ned, who has lost a hand in an accident, is comforted by Julie.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.