Italian transformation
Electric Maserati line-up confirmed for NZ The plug-in luxury cars set to arrive on our shores in late 2024 or early 2025, writes Matthew Hansen.
Having brought its all-new Grecale SUV to market last year, the reinvention of luxury carmaker Maserati’s line-up is set to continue, with a group of fully electric models confirmed for launch in New Zealand.
A Maserati Australia and New Zealand marketing manager Tim Stanton confirmed to Stuff that the brand’s recently updated GranTurismo coupe and GranCabrio convertible are both destined for local sale.
Both models will be offered with either internal combustion or fully electric powertrains, with the latter representing the debut of Maserati’s pure electric Folgore range. A fully electric Grecale Folgore is also set for local launch, as the brand’s mainstream plug-in option.
Production of the group of new models is set to commence in September, with each set to arrive in New Zealand in either late 2024 or early 2025. Pricing has yet to be announced. The swathe of new models, which also includes the mid-engined MC20 supercar, helps complete a long-awaited reinvention of Maserati’s line-up. Previously, the brand relied on its ageing Quattreporte and Ghibli sedans, and the Levante SUV.
With a growing number of customers shifting away from sedans and into SUVs, the doubling of Maserati’s SUV count should improve the brand’s market position. Maserati’s reinvention echoes a similar transformation occurring over the fence at Jaguar.
Under its familiar skin, the Grecale Folgore comes equipped with a massive paired to an 8-speed automatic. The pair accelerates to 100kph in 3.9 seconds or 3.5 seconds, respectively, with each rated for a top speed of either 302kph (Modena) or 320kph (Trofeo).
The GranTurismo Folgore is even quicker. It features a unique tri-motor layout (one up front and two in the rear) paired to a 92.5kWh battery pack. It packs a monstrous 610kW/1350Nm, and can accelerate to 100kph in 2.7 seconds on its way to a top speed of 325kph.
The GranCabrio gets the same 3.0-litre V6 and electric powertrain options, although it skips the entry-level Modena grade — sold only in petrol Trofeo and Folgore options. Each is a tenth slower to 100kph than its coupe counterpart, with the GranCabrio Folgore’s top speed tempered to 290kph.
The inclusion of electric powertrains has come at the expense of Maserati’s trusty V8, which is set to be phased out of the brand’s line-up. A fully electric replacement for the Quattreporte is likely to be next on Maserati’s hit list, with the model potentially set to be built on the Stellantis STLA Large EV platform.
The Beach Boys (113 mins) Directed by Frank Marshall Reviewed by Graeme Tuckett ***½
The Beach Boys is a breezy abbreviation of the truth. Director – and uber-producer – Frank Marshall is on solid ground in the early years. The story of the three Wilson brothers, their cousin Mike and friend Al, playing music in their parents’ garages is well known. They had a few minor early successes, but, in June 1962, they released the single Surfin’ Safari on Capitol Records.
The Beach Boys became overnight behemoths and a string of hits followed. But their image belied the fact that these were introspective and sensitive young men – none more so than Brian, who would emerge as a generational musical savant.
In 1964, The Beatles arrived in the US. The Beach Boys were in Auckland when someone announced this “new British band” were now the No 1-selling act in America. As Dennis Wilson puts it, “we were on the wrong side of the world – and they were on the Ed Sullivan Show’’.
At the end of that year, Brian quit as a touring player. All he wanted was to be in the studio making music. When the rest of the band were back in LA, they would put down their vocal parts and then head back out with the new material. Some of their greatest music, including Pet Sounds and the single Good Vibrations, would come out of this period. But it was unsustainable.
With hindsight, if The Beach Boys as we knew them had broken up in 1965, and re-formed under a new name to record Pet Sounds and everything that came after, then maybe the group could have navigated the rest of the 1960s and 70s with their sanities intact. But, just as the group were producing their greatest music, pop-culture was deeming them relics of another age.
In 1966, Capitol Records refused to promote Pet Sounds – which includes God Only Knows and Wouldn’t It Be Nice – and instead released an album of “greatest hits’’ without the band’s knowledge. It contained no material written after 1964.
Marshall does pretty well at capturing the paradox of a band whose popular image stands almost in opposition to their greatest musical achievements.
All the band – including the occasionally reviled Mike Love – have their reputations polished a little here. Some of the in-fighting is downplayed, as is Dennis’ and much of Brian’s drug use.
Of the many outside interviews, by far the most interesting are with Carol Kaye, Hal Baine and Don Randi of The Wrecking Crew – that legendary community of LA session players who defined the sound of 1960s and 70s California pop.
The Beach Boys could never be the film the band deserved. But, it doesn’t do any egregious disservices. And it is the film we got. And just knowing that Brian has lived long enough to hear Paul McCartney call God Only Knows the greatest pop-song ever written kind of makes the whole journey worthwhile.