It’s Time You Knew The Iso Rivolta And Rambler American Are Strangely Similar

You know what’s something nobody talks about, strangely? Almost as though some sorts of unseen forces, ghostly hands are being clapped over peoples’ mouths, to keep these difficult truths from being uttered? I think you probably know where I’m going here. Think about the biggest taboo secrets in modern society and I’m pretty sure eventually you’ll stumble upon this one: the Iso Rivolta sure looks a lot like a more aggressive, sportier, cooler version of the humble Rambler American.

Don’t say it out loud! Are you in public? Shit, I should have asked before – look, if you’re in the open, cover your computer or phone screen or Telex printer with your shirt or something, because if people see this, they’re going to lose their shit and who knows what they’re capable of then? If most people just get a whiff of the idea that you’re comparing a legendary, iconic Italian Gran Turismo car to the stereotypical 1960s cheapskate’s car, they’ll go positively batshit.

Here, let me just show you what I mean, with the two cars side by side, and crucial adjectives for both, alliterative ones:

It’s right there. Look at these two cars, which could not be more different in purpose and goal, and yet they have a strange, distinct similarity of design. The 1961-1963 second-generation Rambler feels like the Dr. Jekyll to Iso’s Mr. Hyde, or, perhaps more accurately, the Dr.Heckyll to the Rivolta’s Mr.Jive, as explained in this very short Australian documentary:

I think what we’re seeing here is some manner of convergent styling evolution, and by studying these two cars together, we can distill what visual qualities are key to telegraphing a car’s character, visually.

The angle I find most similar is when viewed from the front, so let’s look at that:

There are plenty of important detail differences, but I’m struck by the basic, crucial similarities: the shape of the grille, from the front, at least, and those headlight “eyebrows” that go on to form the upper front fenders are the most crucial similarities. The two cars also share a certain clean, unadorned aesthetic, and the stance and proportions really aren’t all that dissimilar.

And yet, at the same time, these cars are wildly different:

The second-generation Ramber American’s styling was under AMC’s then styling vice president Edmund E. Anderson, and used the same mechanicals and even basic unibody structure as the previous generation, which was extremely different visually, a holdover of Nash’s old jelly-mold, inset-wheels and rounded-everything look.

The flatter, crisper-edged look was very much in keeping with 1960s design concepts and did a lot to modernize the perception of the Rambler American, at least visually. The character of the Rambler American was always firmly one of practical rationality and humility; this was an affordable car for sensible people.

The Iso Rivolta is about as removed from this concept as possible; sure, Iso started in the car business making affordable cars for people that desperately needed something – the Iso Isetta:

…but after the war, Iso decided to get into the luxurious, powerful GT car market, and so they came up with the Iso Rivolta in 1972. This handsome and elegant Grand Tourer used a Chevy small block V8, very similar to what was used in the Corvette, but skinned in the athletic-looking coupé body designed by Giorgetto Giugiaro, who was at Bertone at that point in his career.

This is about as far away from the Rambler American’s origins as one could imagine. And yet, at the same time, whenever I see one of these cars, I think of the other.

I’ll admit, I’m writing this at least in part because I saw this beautiful Rivolta at the Heritage Invitational event this past weekend, and the fact that I kept being reminded of a Rambler American was haunting me.

So, I suppose I’m writing this in part to finally expose and exorcise this demon of association, but as I do so, I realize there are important concepts here to consider, some really basic things.

Things like so much of how we feel about a car is conveyed by subtle touches. The overall forward rake of the Rivolta, for example, makes it feel so much faster and more powerful than the vertically upright American. Just exaggerating certain angles and curves does so much to push the visual character of a car in a given direction.

Both cars have their own distinct personalities and charms, yet I still feel there’s some related thread binding these two incredibly different machines together.

Does anyone else see this? Is it just me? I think it’s worth reflecting on, regardless, because I feel like there’s some greater lesson to be revealed here.

I’m just not really sure what it is.