Winning (1969)

Winning (1969) is a racing drama that occupies an intriguing space in the career of Paul Newman and in the pantheon of American sports films. Often overshadowed by Newman’s better-known works like Cool Hand Luke (1967) or Butch Cassidy and the Sundance Kid (1969), Winning holds significance not only for its portrayal of the high-octane world of professional car racing but also because it sparked Newman’s real-life passion for motorsports, ultimately leading him to become a champion race car driver well into his 70s.

Directed by James Goldstone, Winning attempts to merge the personal drama of a man driven by ambition with the adrenaline-fueled spectacle of competitive auto racing—specifically, the legendary Indianapolis 500. While the film doesn’t always balance these dual impulses smoothly, it delivers a compelling character study, a showcase for Newman’s magnetic screen presence, and a vivid glimpse into the culture of American racing in the 1960s.

Plot Summary

Frank Capua (Paul Newman) is a determined and fiercely ambitious professional race car driver whose ultimate goal is to win the Indianapolis 500. While on the racing circuit, he meets and marries Elora (Joanne Woodward), a widowed single mother with a teenage son, Charley (Richard Thomas).

Frank’s life appears to be moving toward stability, but his single-minded pursuit of victory puts a strain on his family. His frequent absences and emotional distance drive a wedge between him and Elora. Meanwhile, his rival both on and off the track is fellow racer Lou Erding (Robert Wagner), a charming yet morally ambiguous figure. The triangle between Frank, Elora, and Lou adds personal betrayal to the professional rivalry, especially when Lou has an affair with Elora while Frank is away.

As the climactic Indianapolis 500 approaches, Frank must contend not only with the pressure of the race itself but also with the emotional fallout from his crumbling personal life. The film’s finale offers an intense, action-packed depiction of the race, culminating in Frank’s bittersweet triumph.

Performances and Characters

Paul Newman anchors the film with a performance that reflects both the confidence and internal conflict of a man chasing greatness at the expense of human connection. His portrayal of Frank Capua is less flamboyant than some of his other roles but equally nuanced. He plays Capua as someone who masks insecurity and emotional reticence with professionalism and stoicism. There is a quiet desperation beneath his surface cool, and Newman skillfully allows glimpses of it to show through.

Joanne Woodward, Newman’s real-life wife, brings emotional depth to Elora, a woman caught between loyalty and disappointment. Her performance is marked by restraint—Elora is neither a tragic victim nor a villainous figure, but rather a realistic portrait of a woman who feels emotionally neglected. The chemistry between Newman and Woodward is authentic, though ironically, their on-screen marriage is fraught with tension and miscommunication.

Robert Wagner as Lou Erding is smooth and swaggering, effectively embodying the archetype of the handsome rogue. Wagner doesn’t try to redeem Lou but plays him with enough charm that one can see why people—Elora included—fall under his spell. His rivalry with Newman’s Capua adds dramatic tension, especially in scenes where personal betrayal fuels professional competition.

Richard Thomas, in one of his earliest roles (before The Waltons), delivers a sensitive and credible performance as Charley, Elora’s son. His relationship with Frank becomes one of the film’s more touching subplots, as the boy idolizes the racer even as his family life fractures.

Direction and Cinematography

Director James Goldstone—best known for television work and episodic films—approaches Winning with a straightforward narrative style. While the character-driven scenes tend to be visually conventional, the film truly comes alive during its racing sequences. Goldstone and cinematographer Richard Moore craft these segments with urgency and realism, using a combination of aerial shots, in-car cameras, and immersive editing to give audiences a visceral sense of the danger and speed of racing.

The climactic Indianapolis 500 sequence is a standout, filmed on location with real race footage blended skillfully with staged scenes. The roar of the engines, the blur of motion, and the tightly edited pit stops capture the chaos and high stakes of the sport. It’s clear that significant effort went into achieving authenticity, and the result is one of the most memorable racing set-pieces of its era.

Music and Sound

Dave Grusin’s score is jazzy and upbeat in parts, attempting to bring a contemporary flair to the film. However, the music sometimes feels at odds with the tone of the story—light and groovy in places where the drama is dark or introspective. Still, Grusin’s contributions reflect the late 1960s aesthetic, and the sound design, particularly during racing scenes, does an excellent job of conveying the mechanical symphony of the sport.

Themes and Analysis

At its heart, Winning is a study of obsession—how the drive to succeed can isolate and ultimately undermine the very things one seeks to protect or achieve. Frank Capua’s goal is noble—victory, recognition, accomplishment—but his personal life suffers because he cannot balance ambition with emotional presence.

The film also touches on themes of masculinity and emotional repression. Frank is a product of his environment: stoic, proud, and reluctant to express vulnerability. The betrayal he experiences from both his wife and his colleague is not dramatized in overtly explosive terms but instead simmers under the surface. This restraint, while perhaps a limitation dramatically, is in keeping with the character and adds a layer of realism.

Another significant element is the father-son dynamic between Frank and Charley. In many ways, Charley becomes the emotional conscience of the film—his admiration for Frank, and subsequent heartbreak, reflect what is at stake beyond trophies and victory laps. It is this relationship, more than the romantic entanglements, that provides the film with its emotional core.

Legacy and Conclusion

Though not a major critical or commercial success at the time, Winning has grown in esteem for several reasons. For fans of Paul Newman, it represents a transition toward more introspective and morally complex roles. For racing aficionados, it remains a rare example of a mainstream Hollywood film that takes the world of auto racing seriously and portrays it with respect.

The film’s most enduring impact may be what it sparked off-screen: Newman, previously a racing novice, fell in love with the sport during production and went on to co-found Newman/Haas Racing and compete professionally—eventually becoming one of the most respected gentleman drivers in the sport’s history.

Winning is a flawed film, but an earnest and sincere one—more grounded than flashy, more psychological than sensational. It captures a moment in time when personal ambition clashed with personal responsibility and does so with enough style and sincerity to remain relevant and compelling today.

Rating

A solid character-driven sports drama elevated by Newman’s magnetic performance and thrilling race sequences. While uneven in parts, Winning offers emotional depth and historical significance beyond the checkered flag.