Limit, The (2 page)

Phil Hill after the 1950 Pebble Beach Cup, the last-to-first dash that converted him from mechanic to driver. (Pebble Beach Company)

P
HIL
H
ILL HATED THE DINNERS
most of all. The vile dinners with his parents cursing each other across the long table in their Santa Monica dining room. Shouting, taunting, springing from their chairs and spilling wine. Hill sat in stony silence with his siblings, too shaken to touch the pot roast or fried chicken put in front of them. Even as their parents fought, the children were required to maintain perfect table manners.

It always happened the same way. In the afternoon Hill would hear the faint chime of piano keys, the major and minor chords chasing each other as his mother worked out arrangements for the hymns she composed for publication. At 5 p.m. sharp his father left his job as postmaster general of Santa Monica and drove to the Uplifters Club, a hard-drinking enclave of civic stalwarts and businessmen, where he was known for making extemporaneous political speeches over a series of whiskeys.
After more drinks—sometimes a lot more—he headed home in a darkening mood.

Julia, the black cook, climbed the tiled stairs of their home on the edge of Santa Monica to tell Hill and his younger brother Jerry and sister Helen that they would eat with the grown-ups that night. They dreaded it. Their father was a devoted Roosevelt Democrat, their mother an avid Republican. Meals ended in political quarrels enflamed by booze. Later Hill would sleep with his hands covering his ears to muffle the screaming downstairs.

When Hill was fourteen his father came home drunk and hit his mother. Hill pushed between them and hit him back. “It was the first time I ever struck my father,” he said. “I had this feeling of power over him, finally. I remember it was a good feeling.”

It should have been an ideal childhood. The Hills were pillars of Santa Monica, a thriving community on the edge of Los Angeles with a palm-shaded promenade overlooking a broad beach where children swam and played ball in the California sunshine. They lived in a Spanish-style house on 20th Street with creamy stucco walls, exposed beams, and dark wood floors. Shirley Temple lived next door. It was the picture of California comfort.

The setting was no solace to Hill. He grew up wretchedly disconnected from his domineering parents and painfully unsure how to fit in to his surroundings. He was slightly built and sickly, and he stood aloof from the boys patrolling the neighborhood. When polio broke out in 1936, his mother hired a tutor to homeschool Hill and his siblings for a year. He was further confined by a sinus condition that required a tube inserted in his nose. He was too clumsy to find escape in sports. “I was awful,” he said. “When we played baseball I was
always the poorest member of the team—the fact that I was cursed each time I came to bat didn't help me play any better.” His only contentment was playing the piano. It was not just the music that captivated him, but also the reliable mechanical play of key, hammer, and damper.

His mother was too preoccupied with her own musical pursuits to pay much attention to family. She stayed up late listening to an Edison Victrola and writing hymns, including a popular song called “Jesus Is the Sweetest Name I Know.” She also wrote religious tracts refuting the claim that Prohibition had a biblical basis. By her reading of the Bible, God endorsed drinking. And drink she did. In the mornings she slept it off while a chauffeur delivered Hill and his brother to school. “Jerry and I hated to let the other kids see us,” he said. “This was during the Depression, and we felt just awful being taken to school like a couple of royal princes, complete with Buster Brown haircuts.”

Hill's father, Philip Toll Hill Sr., was a disciplinarian with the rigid mindset of a lifelong civil servant. He came from a long line of stalwart northeastern burghers and businessmen, all of whom attended Union College in Schenectady, New York. He followed in their path, then became a navy lieutenant in World War I and city editor of the
Schenectady Gazette
before taking a sales job with Mack Truck in Miami, where he married Lela Long, a farm girl from Marion, Ohio, with musical ambitions.

Philip T. Hill Jr., was born on April 20, 1927. Four months later the family fled Miami as a hurricane bore down. Lela had lived through one hurricane, and she refused to face another. The family drove across the country to Los Angeles, where
Hill's father briefly worked as foreman of the L.A. Grand Jury, then became postmaster general of Santa Monica.

He was a remote figure who ruled the household with regimentation. His children addressed him as “sir.” He trained his sons to greet women with a bow and a crisp click of the heels. In 1935, he sent eight-year-old Hill to the Hollywood Military Academy. “Be a good little soldier,” his father told him. Hill was anything but soldierly. His one interest was the most unmilitary activity available: playing alto horn in the school band.

Hill found his salvation in the family garage. The story of his childhood is bright with automotive impressions—the elegant tangle of wires under the hood of his mother's shiny Marmon Speedster; the Oldsmobile a family friend let him drive around the block, his back supported by pillows and his feet grazing the pedals; the 1928 Packard his parents drove up the coast road to Oxnard for picnics, with Hill egging his father on. “I remember going down one of those hills seeing 80 on the speedometer,” he said. “And stuff was blowing out of the car and my mother was screaming bloody murder—and I loved it.”

When Hill and some friends were driven home from a birthday party in a green 1933 Chevrolet sedan, he paid each passenger twenty-five cents for the privilege of sitting beside the driver and shifting gears. They laughed at his determination as they held out their tiny palms to collect the coins. “I was born a car nut,” he said. “Really a mental case.”

It was common for boys to fall for the full-figured cars of that era, but Hill verged on infatuation. Staring out at San Vicente Boulevard, he would challenge neighborhood boys to shout out the make and year of approaching cars faster than he did—'39
Chrysler Royal, '40 Chevy Coupe, '23 Dodge. They rarely beat him. He could spot a hundred models dating back to the 1910s. “It was as if I was trying to divorce myself from the presence of the people around me,” he said, “and focus myself only on the cars.”

The only adult who encouraged Hill was his aunt, Helen Grasselli, a wealthy Cleveland socialite. After divorcing her husband, a successful chemical manufacturer, she came west and settled in a house down the block from her sister. Helen had no children of her own, so she doted on her niece and nephews, buying them gifts and taking them on vacations in Miami. She favored Phil in particular, in part because she shared his fascination with cars. She let him sit on her lap and handle the oversized wooden steering wheel of her Pierce-Arrow LeBaron Convertible Town Cabriolet as they cruised empty canyon roads. It was a car of stately luxury with an outdoor seat for chauffeurs and a wood-lined passenger cabin furnished with a lamb's wool rug and a beaverskin lap robe. “Phil was in awe of that car,” said George Hearst Jr., grandson of William Randolph Hearst and a classmate of Hill's at the Hollywood Military Academy. “We all were.”

Before the development of automatic transmissions and power steering, driving was an act of physical athleticism. Climbing the Sepulveda Pass through the Santa Monica Mountains one day, Helen grew impatient as Louis, the chauffeur, ground through a ponderous series of ill-timed gearshifts. She shoved him aside and took the wheel. When Hill was twelve, he and Helen spotted a black Model T Ford in a used car lot while walking down Figueroa Street in downtown Los Angeles. “It had only 8,000 miles on it and everything was original,”
he later said, “but they wanted an outlandish price for it—$40.” His aunt bought it for him and arranged for its delivery that evening. “I peeled back the curtains and there it was, shuddering back and forth in the street below, with that familiar whine of the planetary box, and unmistakable sound in low and reverse,” he said. “The salesman told me, ‘Now, you get low by pushing the left-hand pedal down, high by letting it out. The middle pedal is for reverse and the throttle is on the right side of the steering column. Have you got that, boy?' ”

Hill's father disapproved, and he ordered his son to stay off public roads. Fortunately for Hill, his friend George Hearst Jr. owned a slightly later version, the Model A. The boys drove the private roads of the Hearst estate in Santa Monica Canyon, and they staged races on a quarter-mile horse track on the property, skidding their way around the dirt oval.

“I learned a hell of a lot about the dynamics of cornering from that old Model T,” Hill said. Even then he knew how to pull back from the edge of recklessness. “I was enthralled with cars and power and speed, but I already had a certain saving caution. I did not, for example, ‘bicycle' that Model T—in other words, corner it on two wheels, as some characters I knew often did with their cars.”

Hill learned how to handle the Ford, and he learned how to fix it. When the connecting rod for the pistons or crankshaft broke, Louis the chauffeur showed him how to replace it. While the neighborhood kids played baseball, he roamed junkyards looking for bargain cylinder blocks and carburetors. He could not stop his parents' drinking and fighting, but he could mend a busted throttle. Just as the children of Narnia slipped an oppressive home by stepping through the wardrobe,
Hill found enchantment under the hood. He absorbed himself in the intricate language of carburetor, clutch, camshaft, and cylinder heads. He had found an escape to an ordered and predictable world where every pedal and piston had a clear purpose and responded to his touch.

“I've always expressed myself via the automobile,” he said. “I guess I sensed that I was in an insane environment and that my only escape was in something that had structure. Cars gave me a sense of worth. I could do something—drive—no one else my age could do. I could take cars apart, too, and when I put the nuts and bolts back together again and the thing worked, no one could prove me wrong. That kind of technology was fathomable, made sense in a way people never did. Cars are easy to master; they hold no threat; and, if you're careful, they can't hurt you like people can.”

Pooling money from his allowance and a part-time job pumping gas, he bought a succession of cars, including a 1926 Chevy and a 1940 Packard convertible. He acquired them at a time when teenage boys, particularly Californians, expressed disdain for the fake chrome styling of Detroit by turning showroom models into hot rods, “hopping them up” with rebuilt transmissions, lightened flywheels, extra carburetors, superchargers, and half a dozen coats of shining lacquer. It was a subversive creativity, as graffiti and hip-hop would be to later generations. The kid who once breathed through a tube and could barely swing a Louisville Slugger had found his gift. He tested his handiwork on San Fernando Road and the side streets of Santa Monica, which in the 1940s were relatively empty and unpatrolled by police.

Teenagers met at stoplights and squealed away in clouds
of smoke, their chrome exhaust pipes amplifying the throaty roar. “There was no problem in finding out whether a driver who pulled up beside me wanted to drag,” Hill said. “We had our little signals. If one guy revved his engine in a subtle way, and that was returned, then the drag would be on. My left foot would be trembling on the clutch in anticipation as I waited for the moment when I let it in and took off.”

Leadfooters and throttle stompers met at the Piccadilly drive-in on Sepulveda Boulevard or Fosters Freeze malt shop in Inglewood to eye each other's hop-ups and talk to girls. Hill was shy, but handsome in the manner of California hot rodders, with a ripple of dark hair and muscled hands stained with grease. Gas rationing had ended, and Hill and his friends chased each other on coast roads and twisty canyon drives. The wind blew their hair. Girls laughed in the backseat.

On weekends he drove a hundred miles over the mountains to the flat expanse of dry lakebeds near Muroc and El Mirage, where teens and war veterans congregated beyond the reach of police. They rolled into the desert in the evening, their headlights winding through the mesquite and sagebrush, and gathered around bonfires with beer and bedrolls. They started their engines at dawn, before the sun warmed the flats.

The Southern California aircraft industry had produced a generation of young men adept at welding and lathe work. From their garages and backyards came a fleet of lowered and lightened hot rods—fenderless, hoodless, and roofless. They were uncomfortable but fast, skimming the hard-packed sand at 125 mph and kicking up thirty-foot rooster tails of chalky dust.

One by one, or in pairs, they peeled across the desert, reaching
speeds as high as 125 mph or so before hitting what they called “the traps.” A stopwatch triggered when they crossed a rubber hose and stopped when they hit a second hose a quarter mile away. Timers seated at a makeshift table calculated their speed and shouted it to onlookers standing by in the hot rod uniform of Sinatra-slick pompadours and flapping shirttails.

Hill stacked issues of
Autocar, Motor Sport
, and other British magazines in his bedroom. At night he studied the grainy photographs of his faraway heroes—Juan Manuel Fangio, Luigi Villoresi, Alberto Ascari—leaning into curves on dusty Sicilian hills or rampaging down Adriatic straights. The images were like dispatches from a foreign war, their drama magnified by remoteness.

Hill had never seen specimens of that world up close until a boy named Donny Parkinson started showing up on the lakebeds in a Bugatti or BMW. Parkinson's father was a prominent architect—he designed the Los Angeles Coliseum and City Hall—and a prodigious car collector. Parkinson, who would later marry Hill's sister, invited Hill to borrow from the family's automotive library, and to inspect their considerable stable of foreign cars. Hill passed his hands over the Italian leather seats and German steering wheels without much hope of ever seeing that world firsthand.