In the type of role Gilbert Roland uses to play back in the Fifties, John Leslie is one of these Renaissance race care drivers who does everything: climb mountains, bullfight, womanize… kind of a shot-on-video Hemingway.

His character is named John Stephenson although everyone insists on calling him Jean Claude.  You figure that one out.  Apparently Porsche Lynn wants to do just that as an American race car magazine writer on assignment in Italy for the big race to find out just what makes Jean Claude tick. We know it’s women, although Leslie’s love ‘em/leave ‘em philosophy doesn’t cut as well as his earlier Jack Valentino character in the Talk Dirty series.  Only this time, Leslie falls in love with a young Bambi-type, Marilyn Jess who leaves him holding his lug nuts when she hits the open road after Leslie cracks up his formula race car.

Woven in with Leslie’s point counterpoint with Lynn as to why he climbs mountains and fights bulls is a parade of “this is an expensive shot-on-video” backdrops of cars, boats and other scenic splendors, plus a sidebar involving Leslie’s daughter (Sharon Mitchell) who wants to follow in the old man’s footsteps.  Sex is ample and often takes place in the cockpit as Leslie’s Francais road mechanics in a twin pronger, show Lisa Bella how dish pistons can optimize her compression ratio.  “Peestones” is how they pronounce them.  Sounds like a bladder problem to me.

Oddly, Lynn doesn’t get sexual until about the 85th lap with pit man Christopher Clark, who looks like Redford and sounds like Aznavour, but by then the story is pretty much of a wrap, and Leslie is grinning his Leslie grin upon Jess’ return only after Mitchell fiddles with her “peestones.”

Grand Prixxx has a grand look about it with a nice story flow and inspiration enough to hang out in auto parts stores for “peestones.”