carrozzieri-italiani.com

The ultimate italian coachbuilder site

The De Tomaso Mangusta, a mongoose to kill the Cobra

de tomaso mangusta

The De Tomaso Mangusta, a pivotal piece of automotive history, emerged from the visionary endeavors of Alejandro de Tomaso and his ambitious pursuit of excellence for the small Modena-based company. This Italian masterpiece, produced by De Tomaso from 1967 to 1971, traces its roots back to the influential De Tomaso P70 project in 1965, a venture that held the promise of transforming the company’s trajectory.

The origin of the DeTomaso Mangusta

Before the P70, De Tomaso had gained recognition for crafting a limited number of competition cars and approximately fifty Vallelunga coupés, each equipped with Ford engines generating around a hundred horsepower. The company, under Alejandro de Tomaso’s leadership, aspired for a significant leap forward in both quality and prominence. The P70 project, a collaboration with Carroll Shelby in 1964, represented this ambitious endeavor.

Initially intended for the 1966 Can-Am, Shelby backed the P-70 race car. Alejandro de Tomaso, in conjunction with a collaborative team sent by Shelby, was tasked with developing and building five cars. However, faced with tight deadlines, De Tomaso couldn’t fulfill the agreement. Around the same time, Carroll Shelby diverted his attention to a contract with Ford for the development of the GT-40 for Le Mans, leading to the cancellation of the P70 project in late 1965. This decision left De Tomaso offended but undeterred.

Photo courtesy of Artcurial

Undeterred, De Tomaso, with the assistance of designer Pete Brock—who remained committed to the project—continued to develop the P70 race car. Ghia was enlisted to craft a body for the single remaining vehicle. In November 1965, this car was showcased at the Turin Motor Show under the name Ghia De Tomaso Sport 5000. Although the P70 never competed in the intended Can-Am series, its existence played a crucial role in the genesis of the De Tomaso Mangusta, leaving an indelible mark on the automotive landscape. This article will delve into the intriguing journey of the Mangusta, unraveling its origins and the transformative impact of the P70 project on the destiny of this iconic Italian automobile.

The Italo-Argentinian racer and constructor, in collaboration with Ghia, unveiled a prototype to the public. Initially presented as a static model and later showcased in motion, this prototype stemmed from the designs of American designer Pete Brock. Brock, employed by the renowned American pilot and preparer Carroll Shelby’s team, contributed to the creation of this innovative project. The Italo-Argentinian visionary hoped that upon completion and demonstration of the car’s technical prowess, it would be acquired by the American team to replace their aging Lang Cooper tubular frame cars. These Lang Cooper vehicles, modified versions of the Cooper Monaco powered by a 4.7-liter Ford engine, had reached the peak of their development, prompting the need for a superior alternative in the North American racing scene.

But it was precisely in 1965 that Shelby became involved with Ford’s GT40 program, which, up to that point, had yielded disappointing results. Shelby devoted himself entirely to this new undertaking, setting aside his own cars and their related development projects. As a result, Alejandro De Tomaso found himself without the primary recipient for his new sports car and was compelled to alter his plans. He decided to shift his focus to road-going sports cars, directly challenging the likes of Ferrari and Lamborghini—brands deeply rooted in the same geographic territory where his small company had originated and grown. The Argentine entrepreneur aimed to capture market share, especially in the affluent United States.

Drawing from the experience gained with the “P70 project,” built on the technical concepts of Vallelunga and its competition derivatives, De Tomaso did not let it go to waste. Instead, he infused it into the Mangusta, a name chosen by the spirited Argentine as a retaliation against Carroll Shelby. The mongoose, capable of combating cobras on equal terms, symbolized the vehicles of the American preparer.

Photo courtesy of Artcurial

Innovative Chassis Design

In Modena’s vision, the Mangusta’s strength and primary feature were its single-beam aluminum chassis, derived from the Vallelunga designed three years earlier. Essentially the same as the P70/Sport 5000, it featured a mid-rear engine with a semi-supporting function, akin to the competition cars of the seventies. This was an innovative solution for a road-going grand tourer. Complementing the single-beam chassis were independent suspensions on all four wheels, a dual-circuit four-disc braking system, and magnesium wheels supplied by Campagnolo in 7×15″ front and 8×15″ rear sizes.

Similar to the Mangusta’s single-beam chassis, Lotus adopted a comparable solution, but the English automaker did not stress the engine as a structural element. Instead, it delegated the task of supporting the rear suspensions to extensions of the chassis. The Modena-based chassis, paired with a hefty and powerful cast iron Ford V8 engine, covered with a lightweight steel body featuring aluminum hoods and doors, exacerbated the stiffness issues previously encountered with the Vallelunga. It resulted in an unideal weight distribution of the vehicle. Attempting to alleviate this, De Tomaso replaced some components with aluminum castings, but the savings amounted to only 25 kg. To enhance dynamics, he decided to lower the engine. Unable to do so with a dry sump, due to high costs, he reduced the clutch bell diameter by fitting three small-diameter discs instead of the standard large one. However, the weight distribution remained imbalanced at 32% to the front and 68% to the rear, rendering the Mangusta’s driving dynamics uncertain and unpredictable as the adhesion limit approached—not quite reaching the standard set by its top competitors, despite its competitive power-to-weight ratio, which put it in contention with the contemporary Lamborghini Miura.

The engine, paired with a somewhat stiff 5-speed gearbox supplied by ZF, was the Ford 289 V8 with a displacement of 4.7 liters, tuned by De Tomaso to reach 306 horsepower. However, for the U.S. market, the significantly less potent Ford 302 V8, a 5-liter engine producing only 220 horsepower, was later installed in the cars. This adjustment aimed to comply with the increasingly stringent emissions regulations imposed by the U.S. federal government during that era.

Unfulfilled Potential and Italian Design Innovation

With Italian design flair, a gullwing hood, aerodynamic and stylish body, four disk brakes, and an overall sportier appearance, the Mangusta was anticipated to deliver exceptional performance, particularly given its superb suspension and mid-engine layout. However, it proved to be underdeveloped. The weight distribution ratio of 32/68 led to front-end lift during cornering, resulting in understeering. Simultaneously, the chassis frame lacked rigidity, occasionally causing oversteering. In summary, the Mangusta was unpredictable, unstable, and challenging to control. Despite its design upgrades, the Mangusta failed to outpace the Cobra, with approximately 500kg more weight and a less powerful engine.

A total of 401 units were produced, with around 150 designated for Europe, 250 for the U.S. market, and a special version equipped with a Corvette engine for Bill Mitchell, General Motors Vice President. The 1970 U.S. models, numbering 50, featured two pop-up headlights.

The body was designed by Giorgetto Giugiaro, then the chief designer at Carrozzeria Ghia in Turin. He adapted a previous rejected design for Iso Rivolta, captivating the new client, De Tomaso. The result was an extremely low-profile vehicle (only 1100 mm in height), sacrificing some interior space but achieving the right balance between elegance and aggression. It featured a massive windshield, necessitating the purchase of an air conditioner to alleviate the greenhouse effect in summer, and a split gullwing hood. Giugiaro’s design for the Mangusta incorporated flat elements, anticipating the protruding frame that encloses the grille and headlights, a solution later adopted by other manufacturers. The exterior sophistication contrasted with a particularly Spartan interior, aligning with the concept of a race car suitable for road use promoted by the manufacturer. Notably, for the U.S. market version, Giugiaro addressed the height restrictions imposed by the American Department of Transportation by fitting a single, larger, partially retractable round headlight, ensuring compliance while maintaining a distinctive aesthetic.

Conclusions

In conclusion, the De Tomaso Mangusta, born from Alejandro de Tomaso’s visionary P70 project, stands as a distinctive chapter in automotive history. Despite handling challenges, its Italian design, gullwing hood, and Ford V8 power left a lasting impression.

The Mangusta’s story extends beyond its 1967-1971 production, laying the groundwork for the De Tomaso Pantera. Introduced in the early 1970s, the Pantera refined the Mangusta’s flaws, becoming an iconic model with international success.

The transition from Mangusta to Pantera signifies De Tomaso’s resilience and innovation. Both models contribute to the enduring legacy of Italian sports cars, capturing the spirit of automotive enthusiasts. The Mangusta’s impact persists not only in its own history but also in the continued success and refinement seen in the subsequent Pantera model.

5 1 vote
Article Rating
Subscribe
Notify of
0 Comments
Oldest
Newest Most Voted
Inline Feedbacks
View all comments
Prince Skyline Sport Allemano

The end of World War II left Japan in a difficult position, having to transition its industries from military production to civilian use. This challenge was particularly tough since Japan, like Germany and Italy, was a defeated nation. However, Japan’s ability to adapt would set the stage for one of the most exciting collaborations in automotive history.

Among the companies responsible for this transformation were Tachikawa and Nakajima, two of Japan’s leading aviation companies. Tasked with shifting to civilian production, Tachikawa (later known as Tokyo Electric Cars) began building electric cars in 1947. Their first model, the Tama, was followed by a slightly larger Junior, and eventually, the Senior.

In the early 1950s, Japan’s evolving automotive landscape saw a shift from electric-powered cars to gasoline engines. By the end of 1951, the Tama Senior was fitted with a 1.5-liter petrol engine, a shift that led to the creation of the Prince Sedan in 1952. This was the beginning of Prince Motor Company, which was named in honor of the official investiture of Crown Prince Akihito.

In 1954, Fuji Precision Machinery (formerly Nakajima) acquired Prince Motor Company and embarked on producing automobiles under the Prince brand. This marked the beginning of a new chapter in Japan’s automotive history.

The Birth of the Skyline and the Search for European Inspiration

By the late 1950s, Prince Motor Company had gained recognition in Japan for its innovative vehicles, such as the Prince Sedan and the Skyline (introduced in 1957). However, the company sought to take their vehicles to a new level—focusing on luxury, performance, and innovation. To do so, they looked westward, to Europe, for inspiration.

Europe was home to some of the most prestigious automotive brands, and Fuji Precision Machinery executives wanted a vehicle that could rival the best of Europe. This aspiration led them to Italy, where they arranged a pivotal meeting at the Salone dell’Automobile (Turin Motor Show) with Carrozzeria Allemano, a respected coachbuilder with ties to Italian designer Giovanni Michelotti.

The collaboration between Japan and Italy led to the creation of the Prince Skyline Sport, a car that would redefine the trajectory of Japan’s automotive design. This groundbreaking partnership merged Japanese engineering with Italian artistry, setting a new standard for style and innovation. The success of this collaboration inspired other Japanese manufacturers to partner with Italy’s legendary design houses, creating some of the most iconic vehicles of the 1960s.

Mazda, for example, worked with Bertone, enlisting the renowned Giorgetto Giugiaro to design the Familia, a compact car that skillfully blended European elegance with Japanese practicality. In 1963, Daihatsu teamed up with Vignale to produce the Compagno, along with its sporty variants: the Sport Spider and Coupé; which reflected a uniquely Italian flair. The following year, Pininfarina collaborated with Datsun to craft a sleek new look for the Bluebird, a move that helped the car gain global recognition. By 1965, Isuzu joined forces with Ghia to design the Bellett II, a concept car that showcased bold and forward-thinking design elements.

These partnerships went beyond aesthetics; they helped establish a global identity for Japanese automakers. By working with Italy’s most respected design houses, Japanese manufacturers gained fresh perspectives on styling while enhancing their reputation for innovation and quality. These collaborations not only transformed the appearance of Japanese cars but also elevated their appeal to international markets, leaving a lasting impact on the industry.

A Handcrafted Masterpiece

Under the direction of Giovanni Michelotti, one of Italy’s most respected automotive designers, the Skyline Sport would be an example of high-end craftsmanship. Initially, the first series of prototypes were built by Carrozzeria Allemano, known for its hand-built bodies. Later, a second series of production would be completed by Carrozzeria Michelotti, adding the final touch to this luxury vehicle.

The Skyline Sport was designed as a two-door coupe with sleek, flowing lines and a sporty yet elegant appearance. Michelotti’s design incorporated canted headlights, angled downward at the inside corners—a feature seen in other high-end vehicles like the Lincoln Continental and Buick during the late 1950s and early 1960s.

At the heart of the Skyline Sport was a 1.9-liter GB-4 engine that generated 94 horsepower, giving it a top speed of 150 km/h. Despite weighing in at 1,350 kg, the car’s handling was remarkably smooth, thanks to a double-wishbone front suspension and a De Dion rear axle, technologies that were innovative for its time.

The Prince Skyline Sport: A Bold Statement

The Skyline Sport debuted at the 1960 Turin Motor Show, where it garnered international attention for its bold design and luxury features. Available in both a coupe and a convertible version, it was a striking example of Italian design combined with Japanese engineering. Its clean lines, striking front grille, and eye-catching details made it a standout at the show.

But its beauty was more than skin deep. The Skyline Sport was a car that delivered in terms of both aesthetics and performance. With its meticulously crafted body, luxurious interior, and advanced suspension, the car offered an exceptional driving experience that rivaled the finest European vehicles of the era.

The Prince Skyline Sport made its official appearance in Japan at the 1962 Tokyo Motor Show, where it was met with great enthusiasm due to its elegant lines and striking design. With its sleek coupe and convertible versions, the car showcased a perfect blend of Italian craftsmanship and Japanese engineering, captivating the crowd with its sophisticated aesthetic. However, the Skyline Sport came with a hefty price tag of 1.85 million yen, more than twice the cost of a standard sedan. This steep price limited its appeal in Japan’s domestic market, making it a rare and exclusive collector’s item. Despite its high price, the car gained significant exposure through its prominent feature in Toho films, strategically marketed to heighten its status as a luxury icon.

A Historic Collaboration and Legacy

The Prince Skyline Sport is historically significant as the first collaboration between an Italian designer and a Japanese automaker, setting a precedent for future cross-cultural partnerships in the automotive world. It was a testament to the universal appeal of Italian design and the skill of Michelotti and Carrozzeria Allemano. The Skyline Sport bridged cultural and geographical boundaries, bringing together the best of both worlds to create a truly exceptional car.

Though the Skyline Sport never achieved high sales numbers, with only 60 to 200 units produced, its impact on the automotive industry cannot be overstated. It paved the way for later models like the Skyline GT-R and helped establish the Prince Laurel, another model that would become iconic in Japan.

The Skyline Sport also marked the beginning of Prince Motor Company’s shift toward luxury vehicles. This emphasis on quality and refinement would continue after Nissan’s acquisition of Prince Motors in 1966, with the Skyline Sport serving as a precursor to future generations of luxury cars from Japan.

The Prince Skyline Sport was more than just a car—it was a statement of innovation, craftsmanship, and the power of international collaboration. The partnership between Giovanni Michelotti, Carrozzeria Allemano, and Prince Motor Company created a vehicle that showcased the best of both Italian design and Japanese engineering.

Though limited in production and availability, the Skyline Sport remains an important part of automotive history. It stands as a symbol of the potential for global partnerships to create groundbreaking designs, and its legacy continues to inspire the automotive world today.