(first posted 9/13/2016) The Citroën SM has been covered quite a few times on CC (here, here, here and also here), so I won’t bother reinventing the wheel. Still, this is a car I adore, so whenever I’ve attended the International Citroën Car Club Rally (ICCCR) held every four years, I’ve taken a few snapshots of the odd few, as well as a few odd ones.
Most here would be familiar with the production SM coupé. So just a reminder: built 1970-75; FWD, 2.7 litre Maserati DOHC V6 (fuel injected from 1972), top speed 140mph, self-levelling suspension, power brakes and windows, self-centering power steering, self-levelling and turning headlights, etc., came as standard.
The options list included a radio, A/C, leather seats, lightweight Michelin RR wheels, Borg-Warner automatic (coupled with a 3 litre triple-carbureted version of the V6) and a special luggage set. The coupé was the only production body available.
“Why don’t we slip into something even more comfortable?…”
When it was launched, it was a sensation. But you know how people are, they always want more. And Citroën weren’t going to provide more doors than the two that were already there. They did look into it, but decided that the market for such a car was too small to be worth the trouble.
One such demanding customer happened to be the French President, Georges Pompidou. He was something of a car guy. He owned a Bristol in the ‘50s and a Porsche in the ‘60s. Once elected in 1969, he used the DS limo that his predecessor, General de Gaulle, had ordered from Citroën and Parisian coachbuilder Henri Chapron.
That DS was a tad slow for Pompidou’s taste – not that he drove it himself, but still, now the SM was here. Time to order a new car!
In autumn 1971, Chapron presented his first custom-bodied SM, the Mylord two-door convertible. Around that time, a special order came from the Elysée palace: two four-door SM convertible parade cars. They were delivered in May 1972. Chapron had outdone himself on the interior appointments and the quality of the structural work – with help from Citroën of course, who also designed the car.
Just in time for the neighbour to visit, too. Betty “Q.E.2” Windsor seems nonplussed here, perhaps wondering where her consort was (answer: in the other SM behind you, luv.) The presidential SMs were to have a long and distinguished career, and were last seen in official use in 2002.
Now that Henri Chapron had the jigs and expertise, he figured that a four-door SM might appeal to others. So at the 1972 Salon de l’Automobile, he presented the SM Opéra. Compared to the presidential drop-tops, it was a distinct design in that it had a shorter rear overhang (no need to make room for the folded top), a 5cm shorter wheelbase and different rear doors.
The carrosserie really needed the work by that point: after 1971, Citroën stopped selling their DS cabriolet, which had been Chapron’s bread and butter for the last decade. Chapron made a few special DS bodies of his own design (such as this 1966 ‘Le Léman’ coupé), but there were fewer clients every year as the price of these spiraled to dizzying heights and the DS became older.
I missed ICCCR 2016 in Holland unfortunately, but I did recover some pics I took in the 2012 (UK) and 2008 (Italy) events. The SM Opéra at ICCCR 2012 in England – I’m almost sure that this is the ’72 Paris Salon car. Still in white, still with the chromed wheel arches; some were made with the coupé’s spats.
Of course, it was fully loaded (except for the auto transmission) and Chapron was renowned for outstanding upholstery and attention to detail. But prices were astronomical: the SM Opéra cost over 2.5 coupés – almost Ferrari Daytona money. But what a car, especially when the suspension is “resting” like this.
So it’s probably no surprise that only eight of these were made in three years. What is surprising is that half of them went to Spain. Seems the domestic SEATs and Dodge 3700s were not up to snuff for some Iberians.
(Photo: Philippe Losson)
For a car longer than a DS, rear legroom in the standard SM was lousy. The white Opéra has a black leather interior (and I didn’t take a picture!), with rear seats that look as fantastic as this other Opéra. The extra 29cm in wheelbase were put to good use. Note the faux transmission hump, probably to increase rigidity, as on the CX.
Chapron elected to replace the coupé’s distinctive rear hatch with this flat trunk. Not the car’s strongest design feature, in my opinion. Apparently, according to the owner, if you open it too quickly or enthusiastically, the back of the trunk lid will hit the rear window and shatter it.
Slightly off-topic: the SM also inspired Heuliez, another French coachbuilder more renowned for their buses, to develop this T-top, dubbed the ‘Espace,’ in 1971. Two were made, but only one had that peculiar rear window. Heuliez also designed a four-door SM that would have retained the coupé’s rear styling, but it was never put in three dimensions.
Finally (and also slightly off-topic), there was the bizarre case of the Maserati Quattroporte II. Citroën owned Maserati for a few years (1968-74) and the second iteration of the Quattroporte was supposed to be this car. It was entirely based on the SM (same engine, transmission, suspension, brakes, steering, headlights, floorpan, etc.) but designed by Bertone. So in essence, this is a re-skinned and re-badged SM Opéra…
The prototype was presented at the Turin Motor Show in 1974, just as Citroën was declaring bankruptcy and pulling out of Maserati. This led the Italians to halt the homologation process, which meant the car could not be legally sold in the European Community. A dozen were still made in 1975-77 and sold in Spain (again!) and the Middle-East.
Henri Chapron, who started his craft on war-surplus Model Ts back in 1919, produced fine custom bodies on anything from Dauphines to Cadillacs for half a century. The carrosserie outlived its founder, who died aged 91 in 1978, by seven years. The SM Opéra was one of the last substantial Chapron designs; all eight of them are still with us today.
Pompidou was indeed a car guy who loved to drive his 356 fast (and besides that once said publicly to his somewhat stiff finance minister “You don’t drink, you don’t smoke, my God you must be so boring to live with”… Boy does that sound old school today).
Thanks Tatra for these great pictures, the SM was a dream on wheels for quite a few million French kids in the 1970s including myself, and it is still a guaranteed head turner today.
As you point out the SM Opéra was extremely rare from the start. I only ever saw one of these in the metal, that was on a street in Paris in 1986 and it had the same golden colour as the Coupé standing right next to the white Opéra pictured here. Nice to read about the 100% survival rate, these cars sure deserve it!
Interesting curios, but not even the Heuliez is an improvement on the astonishing SM original.
Frua hoped the Aga Khan QP would become the second-gen factory model, but as Tatra87 mentions the Bertone proposal was given the inside lane which is a shame because the Frua is the most beautiful QP of all.
True, that is a beautiful car, and a missed opportunity.
But Frua had his ups and downs. His SM coupe was not his best work (and for that reason, among others, I prefered to leave it out of the text)…
Just looks like yet another iteration of the same thing, i.e. a Bora or a Dino.
Frua took that SM body and draped it over a Fiat 130 Coupe as well. This language started with a small Monteverdi proposal that was then kidneyfied for BMW.
https://www.curbsideclassic.com/automotive-histories/concept-classic-2009-bmw-vision-efficientdynamics/
To me, a very attractive language that never found a buyer. Having said that, the Frua SM/130 Coupe was nothing against the originals.
I missed that BMW article! That looks very interesting indeed…
I wonder why Pietro Frua insisted on “improving” cars like the SM or the BMW. He should have proposed that coupe design to Simca or Vauxhall. You know, where it was needed…
Love it (the AK QP) below the belt line, but not so much above it. That rear window area is really a mess. It looks like a bulletproof parade car, not a sporting saloon.
Yep, I’d agree with you around the rear of the greenhouse but of all the QPs this is the one with the least amount of flaws – although I must admit a soft spot for Giugiaro’s QPIII (speaking of Opera, check out the driver)
I was aware of the Citroën-Maserati relationship, of course, but I don’t recall if I had actually seen pictures of the Maserati Quattroporte II. Looking at that and the Opéra, I suddenly realize where the Aston Martin Lagonda came from!
William Towns was already playing with origami; 1972 Jensen F-type.
Myself, I always thought the Lagonda was like an early concept drawing for what would become the 1977 Caprice.
What troubles me about these four door conversions is that they don’t seem to take into account the massive tuning differences that would be required for a proper luxury sedan. The interior sound level, the smoothness of operation, the tire and suspension choices are far different than for a grand touring coupe. Since little of this is done, you are left with the few customers for something distinctive who care little of actual function. A small market, apparently mainly in Spain and the Middle East.
Sorry but the smoothest ride you will ever experience is Citroen thats it nothing else comes close
The SM was in Holland last month at this year’s ICCCR.
With a big feature on Chapron which explained the difference between Chapron cars built for Chapron’s clients and Chapron cars built for Citroen’s customers
Can you convey the difference in a nutshell?
Plus, my (very basic) understanding is that the two-door convertible DS was taken in-house by Citroen towards the end of its life, but I’ve never followed up on that story.
If I understand Owl’s point correctly (beautiful photo, btw), they detailed how Chapron made the ID/DS “standard” cabriolet, which involved getting the DS bare metal platform from Citroen, with only the wings, hood and windscreen (as well as the engine, wheels and dash). Chapron built the doors, which are 18cm longer than the saloon’s, and the entire rear end of the car to a Citroen design, including a fiberglass trunk lid. The soft-top’s fasteners were then installed on the top of the windscreen, followed by sanding, primer, paint, installing the soft-top and the seats and door cards supplied by Citroen.
If you ordered a DS from Chapron, you either had a saloon already, which Chapron would then take apart and modify to your specifications, or you could get one through them. Chapron would then place an order with Citroen and receive a complete body – without mechanicals and wheels. Chapron would modify the body according to the customer’s order (e.g. lower windshield, higher roof, special doors, etc.) and their design (convertible / coupe / saloon with finned rear wings or other). The car would then go back to Citroen to be fitted with the engine, steering, wheels, suspension, etc., and was registered in Citroen’s books and given a chassis / engine number. Then it went back to Chapron for extensive interior customization, paintwork and chrome finish. This is how the “special” DSs (and the SM saloons) were made.
Chapron made all DS convertibles — Citroen never made one at their factory. And even after 1971, when Citroen stopped selling them, it was possible to get a convertible made at Chapron. There were still “new” DS convertibles made in 1980, five years after DS production ended.
That’s it in a (biiiiiiiiiiiiig) nutshell
Big chunky nutshell. Thanks. Sounds a bit like the RUF/Porsche thing.
A very interesting variant on the already fantastic SM–and interesting how Citroen felt a 4-door version wasn’t financially viable/necessary, whereas today it’s the other way around usually. I rather like the flat trunk lid; it may not be as graceful as the coupe’s hatch but it’s an interesting visual difference.
It is great to hear that all eight are still in existence!
If Hollywood made a movie that took place in the year 2500, and they used old Citroen’s to represent what people would be driving in 500 years, I don’t think that most Americans would ever believe that they were actually antique cars and not a fancy movie prop.
They already do, or did. The taxi old Biff takes in 2015 in Back to the Future part II is a dressed-up DS. Similarly Ethan Hawke & Uma Thurman ride around in a DS in the movie Gattaca. There are probably more I’m not aware of. Certainly the SM deserves the role!
IIRC Godard used a DS in Alphaville
I don’t see too many movies. I guess I need to get out more.
You’ve seen a certain Laurel & Hardy movie, if I’m not mistaken….
Funny you should say that. I am indeed a big Laurel and Hardy fan.
Believe me,you ain`t missing too much.Today`s “movies” are all sequels, terrible remakes-like Ben-Hur, prequels, franchises, old TV shows made into movies, and way, way too many superhero films. Nothing there for adults over age 35 or us older folks. And if that isn`t bad enough, there are no REAL theaters to see them at.You have to go to some faceless multiplex, be bombared with commercials, spend a fortune for snacks, and contend with rude patrons texting and using cell phones while the movie is being shown. And as for today`s “stars”-there aren`t any.
Nah, just stay home and stream movies no newer than 1997. There’s been virtually nothing since that’s worth going out for, and what is isn’t going to be very original. Phil summed it up well, and I’m not even 35. Like cars I’d rather live with a few rough spots in classics than the polished CGI “perfection” of the soulless dreck Hollywood churns out today.
Pretty sure a DS was in the TV series Battlestar Galactica (re-make). A very good show btw…much better than the original, and I’m a guy with a serious soft spot for anything 70s…
I`m drooling, my mouth is watering. Like showing a hungry dog a piece of steak. I want to see more!
The SM Opera is one of my favorite cars ever, period.
The first image, with the Opera holding court among a platoon of CXs, is magnificent.
Thank you for the write-up!
Fascinating article — all new material for me, and I’m really captivated by these SMs.
The Opera seems to have an extraordinarily long wheelbase. I wonder if some of that visual perception is exaggerated by the notchback design and the lack of fender skirts (the Presidential limousine looks like it retains the coupe’s fender skirts, and even though it has a shorter wheelbase, it seems somewhat less visually stretched to me).
And I hope that the Opera’s owner isn’t speaking from personal experience when he mentions shattering the rear window by raising the trunk too quickly!
All new to me, the info and the pictures. Thanks.
Great article, wasn’t aware the SM Opera existed, only the Presidential phaeton from period photos. I come to CC to learn about obscure, custom-bodied postwar cars, foreign and domestic.
Wow, what a spectacular looking car. You can easily imagine the temptation to offer Citroen a restyle of the SM as a potential DS replacement, as it was getting old by the early 1970s, and these ideas look valid, until you the CX, which rolls even these over.
And those seats are superb!
A standing ovation for a splendid Opera performance!
A great post about a truly unique automobile, the coachbuilt versions even more so. Here’s a couple of lines of them I saw at 2010 Citroen Rendezvous in Saratoga Springs, N.Y., the most I’ve ever seen in one place.
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Anytime I hear the phrase “Citroen SM” I think of the chase scene from the opening of the 1974 movie “The Longest Yard”.
I like how the car has the brand name on the front, so audiences could know what he is driving. I like how he was drinking and driving. I also like how Reynolds is wearing a matching polyester outfit. That mustache! That brown cigarette! Hilarious. The only thing that makes this work is BURT REYNOLDS, who is cool enough to pull all that off.
For most of non-car enthusiasts in 1974; the name on the front was probably the only way they knew what it was.
I knew that it was a Citroen and not a Maserati as soon as the actress spat out the line.
But, Like Paul, I was always a car-obsessed kid.
Still one of my all-time favorite car chase movie sequences.
Yeh, Burt Reynolds had the perfect “Porn Star Stache” mustache in this movie.
#IIRC: The short brown cigar/cigarette he was smoking was called a “Winchester”? Quite popular (in the deep South, anyway) in the early 1970’s.
To my eyes the Presidential car looks better proportioned, with the longer tail. Of course, being topless helps too.
I wonder what an SM wagon would have looked like – nobody tried?
Magnifique!
This is my first time to read your essay, Tatra87. Love the information. i have always admired Capron bodied automobiles. Every so often, I see an SM on the road but, of course, never the four-door and never the parade convertible, which I have seen in pictures over the years. There has to be a special joy in driving a unique automobile. True, you cannot expect a gum chewer chick to appreciate the craftsmanship. These are cars for other men to admire. Thaks so much. Tom
I like how they walled off the 2CVs from the bigger models at the show.
chapron efforts are really rare here, there are a few DS ragtops around but very seldom seen in the wild, I drive a Citroen so I do notice any others old ones are scarce newer models are everywhere.
It is hard for me to get beyond the photos. I read through this, but the car is so amazing that I can’t get beyond that it was made. Such a stunning design. So bizarre and so logical at the same time. I would love to have one just to park and enjoy.
Is there a reason the brakes on the Citroen SM do not require ventilation?
(also seen on the Maserati Quattroporte II)
They are in-board, so they are ventilated via the wide grille on the front valence.