“The Last Race” is the portrait of a small-town stock car racetrack and the tribe of blue-collar drivers that call it home, struggling to hold onto an American racing tradition as the world around them is transformed by globalization and commercialization.
During the early frames of “The Last Race” in a public address announcement to the drivers, the 87-year-old owners of the Riverhead NASCAR Raceway boast about their 37 years operating the facility – the last such track on Long Island. With development encroaching from all four sides, we learn that Raceway sits on a parcel worth millions of dollars if sold to a developer.
As the producers note in the opening credits, stock car racing was born in 1927 – less than a century ago – on Long Island, New York, the same year that Charles Lindbergh made the first trans-Atlantic flight from a nearby airstrip. In 1956, that airstrip became America’s first shopping mall. At the time, there were 40 racetracks on Long Island. Now there is only one. For how much longer remains an open question.
Intentionally driven at a deliberate pace, the documentary chronicles the last gasps of a passing era. Cars and drivers filmed with lengthy stationary shots blend with classical music as backdrop. Most of the people interviewed consist of white men desperately trying to hold on to a mythical way of life, even as it inexorably slips through their fingers.
The worship of automobiles depicted in films such as Clint Eastwood’s “Gran Torino” that characterized the working class during much of the 20th century is on full display here. The aged stock cars share many things in common with their creaking owners – not that all of the racers are geriatrics. Similar to family farmers, NASCAR enthusiasts hold out hope of passing the tradition on from father to son. In both cases, however, the numbers seem to dwindle over time. In one scene, we see a younger driver sitting in his stock car before a race, mentally preparing while strapping on his helmet. Not coincidentally, Mozart’s Requiem for the Dead in D minor issues forth on the film’s soundtrack.
The rich settings could fill a Steinbeck novel. Everyone seems local, drawling in thick New York accents. Old cars, salvaged and brought back to life represent a kind of redemption as they transform into rehabilitated racing machines. The stock cars joust viciously in the arena, containing elements of a demolition derby. Yet despite ubiquitous American flags and blue skies, the activity masks a palpable sense of desperation in the air.
The characters in this documentary constitute a slice of the working poor. We observe them doing odd jobs such as mowing lawns and removing hornet nests for nearby wealthy residents – highlighting the growing divide between the rich on one side, and the working poor in a downward trajectory on the other.
Later we listen in on an aging racer in his living room lined with trophies and old photos from the glory days. He quietly explains that he still races despite health issues because it’s the only thing that makes him feel good anymore.
One of the most visually arresting scenes evokes pathos, as the elderly owners of Raceway require walkers to get around – despite the fact that they control the rights to an exceedingly valuable parcel of real estate. They explain on camera that retirement does not provide most people with happiness. In their mind, relevance matters far more.
Produced and directed by Michael Dweck, with co-executive producers Howard Schultz (former Starbucks CEO and independent presidential candidate) and his wife Sheri, the film contains minimal amounts of dialog. In this production, the images carry the story more eloquently than words ever could.
What motivates the drivers? “The Last Race” makes clear that becoming heroes, even in this dying microcosm of minor NASCAR events, serves as the primary motivation. The thrill of the race, the postmortem analysis, the adulation of young fans all contribute to the heady experience.
As the final credits roll, we learn that at the end of the season, Barbara and Jim Cromarty sold the racetrack and as of the close of production in 2017, the racetrack was still open with new ownership on land valued at over $10 million. A website search at the time of this writing confirms that Riverhead Raceway continues operating.
In the final scene, the winner of the last race, filmed entirely from inside his vehicle, exhibits giddy excitement at his victory. Despite a wistful guitar playing even as adoring and exuberant fans look on, tradition manages to keep a tenuous hold – perhaps a suitable metaphor for modern-day America.
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