After coming close to bankruptcy in the aftermath of World War II, the Ford Motor Company entered the 1950s with renewed enthusiasm and began to see itself number 1 in place of General Motors. The public still had to dream, and Harley Earl, GM’s vice president of design, and his Motorama did just that. Benson Ford, grandson of Henry Ford and director of Lincoln-Mercury, was fond of concept vehicles. This is why the division presents three (Lincoln XL-500 in 1953, Mercury XM-800 in 1954 and Lincoln Futura in 1955), which will result in the style of the new Lincoln 56s.
It was Bill Schmidt, chief designer of Lincoln-Mercury from 1945 to 1955, who began work on the Futura in 1952. His sources of inspiration are the aquatic world (following a trip to the Bahamas with Bill Mitchell, future GM vice president and head of design) and, as is often the case in the 1950s, aeronautics.
But, unlike many prototypes of the time, the Futura will be full-size and rolling. It is therefore a project that is carried out in conjunction with the engineering department. Bill Schmidt, in charge of the concept and the first drawings, is leading the project. John Najjar, who would later be the creator of the Mustang I concept, was responsible for the bodywork and Martin Regitko for the chassis. The first 3/8 scale clay models were made in 1953.
Photo: Ford Motor Company
In the fall of 1954, the blueprints, a full-size mock-up, a chassis with its running gear and engine were shipped to Ghia, Turin, Italy, for sheet metal construction (unlike many concepts that use the fiberglass). Paradoxically, going through an Italian coachbuilder was cheaper than having it manufactured in the United States (ultimately, the complete project will cost $ 250,000, or nearly 2.6 million today). Ghia works fast and well and the car is ready for the Chicago Auto Show on January 8, 1955.
The future is now
Lincoln firmly believes in the Futura concept and makes sure everything is functional. The chassis is one of two built by Hess & Eisenhardt for the development of the Continental Mark II convertible (which will never see the light of day) and which Lincoln recycles. The engine is a modified Lincoln 53 (air filter on the side to accommodate lower hood lines as well as larger carburetors). The press kit says 330 horsepower but no one has ever been able to verify it. The color is an iridescent white (multicolored effect depending on the angle from which you look at it), obtained by grinding fish scales in the paint.
The transparent roof is made of Plexiglas and opens and closes automatically at the same time as the doors (there is also a security which prevents it from opening if the box is not on Park). On the outside, there is a round microphone on the trunk which allows the environment to be heard. Inside, the instrumentation is placed in the middle of the steering wheel, the automatic transmission is controlled by buttons and there is a telephone in the center console. The top of the dashboard, from which protrudes a compass, is covered in black leather while the seats are the same iridescent white, with black inserts.
Photo: Ford Motor Company
After Chicago, it was exhibited at the Detroit Auto Show at the end of January then at the New York Auto Show at the beginning of March. Each time, the car creates a sensation. On March 3, Benson Ford (with Bill Schmidt as a passenger) drove the Futura from the United Nations building to Central Park (you can watch the video here). Under the transparent roof, the air conditioning and ventilation do not work well and it is a real sauna. Whatever, the public is impressed!
Ford continues to use the Futura for promotional purposes for another 4 years after the big shows. Like many other concepts, it should have been shelled, but it will ultimately meet a more glorious fate.
Batmaaaaan!
Enter George Barris, the “kustomiser” of stars. He manages to place the car in the film It started with a kiss, produced in 1959 by MGM with Glenn Ford and Debbie Reynolds. The iridescent paint does not fade on the screen and Barris has to repaint the car red. Afterwards, the Futura languishes and slowly deteriorates in a parking lot for several years. In December 1965, Barris, who worked regularly with Lincoln-Mercury, bought it back for a symbolic dollar. Ford then seriously considers destroying it. Barris had other ideas in mind, however.
From September 1, he signed a collaboration agreement with the production of the TV series Batman, with Adam West and Burt Ward, for the supply of the Batmobile. The contract details all the improvements that must be made to the car. It must be delivered on October 11, 1965 (so Ford is aware of Barris’ plans). To meet such tight deadlines, Barris outsourced the sheet metal work to Bill Cushenberry, while he took care of the fiberglass, Plexiglas and accessories. Once the sheet metal work was finished, he painted the car in shiny black. The Batmobile was born!
Photo: Ford Motor Company
A shrewd businessman, he kept the intellectual rights to the design (he even filed for a patent in October 1966) as well as the ownership of the car, which he rents for $ 150 per day of filming. Well it will take, when we imagine the millions of toys sold around the world!
The intense production (120 episodes in 3 years) will get the better of the chassis and the running gear. Barris will replace them with a Ford Galaxie chassis lengthened by 11 inches with its mechanics. Several replicas, based on Galaxy, will also be built for the series.
At the end of the day, the car will be on display in George Barris’ personal museum. In 1973, he tried to sell it for 5,000 dollars… without success. Forty years later, he will auction it Barrett-Jackson and the hammer will ring at the sum of 4.2 million (before fees). Sometimes patience pays off!