Mini

The True and Secret History of the Making of a Motorcar

2009

Simon Garfield

Published by Faber and Faber

Allen & Unwin

Reviewer: Bob Estreich

First, in the interests of Truth in Advertising, I must declare my love for the Mini. I bought mine in 1971, an ex-racing 1310cc Mini Cooper S (Australian version) that could pull a genuine 130 miles per hour and sometimes even touch the road at that speed. Its acceleration was amazing, its roadholding was astounding, its need for maintenance demanding. Above all it was FUN and if you have never driven a Mini you have missed out of one of life’s great experiences on wheels.

The book covers the development from Alex Issigonis’ first concepts through many of the varieties it spawned, all the way from the first ones in 1959 up to today’s BMW mini. At first I thought of the BMW as a “pretend” Mini but since riding in my daughter’s car I have changed my opinion. It is a worthy successor to the original, and I can’t help thinking that this is what the “old” Mini would have eventually evolved into had it continued in production.

The book is naturally very British-oriented. The concept is discussed in detail and there is an honest appraisal of the car’s defects. It was meant to be a cheap city car and many of the defects were simply an attempt to keep the cost down. In the base model even interior door handles were an option. There were many industrial problems in Britain at the time and the Mini production line did not miss out. Its makers, British Leyland, did not have a good reputation for quality. Gradually, though, the public came to love the cheeky little “brick” and even to customise their cars.

Perhaps it was only natural that some hoon would sooner or later race one and the development through the Mini Cooper and Mini Cooper S is covered. It is a shame that they missed out on the Australian versions, though. One of Australia’s most popular racetracks is at Bathurst. In the early days it featured many tight curves on the narrow upper section of the track which made it perfect Mini country, and there were many spectacular photos of Minis lifting two wheels off the track in enthusiastic cornering. One of these photos would have been ideal in this book. The New South Wales Police put bigger carburetors on the Cooper S and used the Minis for pursuit cars for some time. The sight of a huge policeman getting out of a tiny Mini would also be a worthy addition to the book. In fairness the British police also used them and there is a wonderful photo of a group of police standing beside their toy-like Minis.

Many of the legitimate Mini variants are covered in detail, as it was upgraded often throughout its lifetime. The engine got bigger, the interior trim improved, many of the options became standard. There was a jeep variant, the Mini Moke. Even this was customised with a tiny load tray in case you wanted to carry a shoebox or something around town. There is a lovely example in the old Hywell Bennett movie Percy. Even more famous and perhaps the greatest film ever made according to Mini lovers is the 1969 film The Italian Job starring Michael Caine. It represented all that was good about the Mini to its fans – the Mini was presented as cheeky, fast, agile and fun.

These films were fine promotional vehicles (sorry) for the Mini, but the book also shows a wealth of the advertising material of the times. There is so much advertising aimed at different characteristics of the Mini that it seems the advertising executives were not quite sure what feature to promote next. I am a bit uncertain, however, about what they were promoting in the photo of a Mini panelvan with a worried-looking sheep in the back.

Simon Garfield has talked to many of those concerned with the Mini – the drivers, factory workers, engineers and all the others whose work gave the Mini its personality and cult following. Their stories help to explain why a tiny poorly-made little steel box with an antique engine became such a legend worldwide. There is a wealth of factory and engineering detail, drawings and concept art.

Even the best of times must come to an end and the Mini ceased production in 2000. Like the Volkswagen, though, it wouldn’t stay dead. Its resurrection as the new Mini is covered in detail. Unlike the VW the Mini seems to have recaptured some of its old magic among a new generation of drivers. It is far more refined and streamlined than the old model but the stylists have kept fairly faithfully to the overall looks. The new engine is very, very good. The car is also far more expensive. In spite of this it has an individuality which is missing in the bland egg-shaped cars of today. Even at my age it’s good to watch one weaving rapidly through traffic and say “That’s a Mini. I used to own one of them”.

If there is a Mini fan in your family, here is a surefire Christmas present.

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This review will appear in Volume 2 No.5 (2009) of the digital and print edition of Synergy Magazine.

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