You Can Purchase a Pristine 1996 Impala SS Still Encased in Plastic | Carscoops

You Can Purchase a Pristine 1996 Impala SS Still Encased in Plastic | Carscoops

      A well-preserved 1996 sedan that has remained hidden for almost thirty years is set to go to auction, boasting only 78 miles on the odometer.

      Recently reported, a 1996 Chevy Impala SS with this exceptionally low mileage is making its way to auction.

      This vehicle has been kept in a climate-controlled garage, maintaining its factory condition.

      It still has the original plastic, 17-inch wheels, and all original documentation.

      These days, most car buyers are leaning towards SUVs and crossovers, causing traditional sedans to quietly fade into the background. This trend is unfortunate for those who still value the simple elegance of a well-crafted four-door vehicle.

      If you identify with that sentiment, you might take interest in a 1996 Chevrolet Impala SS that is likely among the lowest-mileage examples in the nation.

      In Impeccable Condition

      As the last model year for this edition, the 1996 Impala SS came out of the factory with all original paperwork, including the window sticker. It is unclear why the car has only been driven 78 miles (126 km), but Mecum Auction confirms it has been stored in a climate-controlled garage since it was new.

      The exterior is finished in a classic black, and the original five-spoke 17-inch wheels are equipped with Riken Raptor ZR A/S SL tires.

      The styling of the Impala feels refreshingly simple compared to contemporary sedan designs that often incorporate complex lines and sharp angles.

      Given its remarkably low mileage, it is no surprise that the interior is in flawless condition as well. The cabin features gray leather surfaces, including the seats, and still has the original plastic coverings on the front seats, floor mats, and steering wheel.

      Mecum Auctions

      Under the hood, the 1996 Impala SS is powered by Chevrolet’s 5.7-liter LT1 V8, producing 260 horsepower and 330 lb-ft of torque, which it transmits to the rear wheels via a four-speed automatic transmission.

      This configuration allowed for a 0-60 mph (97 km/h) acceleration in approximately 7.2 seconds and a top speed nearing 130 mph, which is impressive for a full-size sedan weighing 4,221 pounds (1,915 kg). It also featured a stiffer suspension and improved brakes compared to the standard Impala of that time.

      The auction listing mentions that the battery has been replaced in preparation for the event. The car also includes its original tires, a nice detail for anyone wishing to preserve it exactly as it was produced, although it's important to note that those tires are purely for show after nearly thirty years in storage.

      When it was first sold, the Impala SS had a price tag of $26,192, including options and destination fees. When adjusted for inflation, that translates to about $55,100 today.

      The Impala SS is scheduled to be auctioned on January 10, though Mecum has not provided a pre-sale estimate. Nonetheless, it is reasonable to assume that this time-capsulated sedan will not come at a low price. Those interested in utilizing its odometer can find the full listing here.

You Can Purchase a Pristine 1996 Impala SS Still Encased in Plastic | Carscoops You Can Purchase a Pristine 1996 Impala SS Still Encased in Plastic | Carscoops

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The film also depicts the lives of various service employees, alongside a subplot where Philip regularly hires someone to alleviate his loneliness. While the film critiques the service for the degrading tasks women may undertake, the resolution concerning Philip, Mia, and her mother feels overly tidy, with the mother seemingly learning nothing and facing no consequences. This film would have benefited from focusing on one aspect of the rental service and developing it as the narrative's foundation. It is not that the film is overly complicated; rather, with numerous supporting characters, it feels compelled to heighten stakes or introduce convoluted twists, leading to contrived rather than natural storytelling. *Rental Family* follows predictable beats that invite eye-rolling. 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This relatively unexplored concept is at the heart of writer/director Hikari’s second narrative feature, *Rental Family* (named after the service depicted in the film), which presents various themes ripe for further examination. However, some restraint and focus could have been beneficial, as, by the end, apart from Brendan Fraser’s struggling actor who has made Japan his home, the other characters lack depth and primarily serve to elicit emotional responses from the audience. It is frustrating how often the film attempts to elevate emotional stakes in the second half, as it caused this critic to experience the opposite effect, leading to a collapse of engagement. The only cohesive element is the remarkable ensemble, fronted by the genuinely heartfelt performance of Brendan Fraser, who nearly compensates for the structural and character shortcomings surrounding him. His character, Philip (who assumes a new identity with each client and scenario), is understandably hesitant to join the service despite his urgent need for employment. On the surface, this service appears to have the potential for greater harm than good. Nevertheless, his views are gradually shifted by the outcome of a staged marriage he participates in, which enables the faux bride to escape to Canada with her girlfriend, allowing her to live authentically while her homophobic family remains under the impression that she is fulfilling the traditional role expected of her. While deception is inherent, everyone finds happiness, and an oppressed individual can live the life they desire. Philip's subsequent role poses more ethical dilemmas: he plays a mother (Shino Shinozaki) attempting to reconnect her rebellious daughter (Shannon Mahina Gorman, who is also fluent in English) with her estranged father, under the belief that this might reform her behavior enough to enable her enrollment in a prestigious school with promising future prospects. For Philip, the task is to embody Kevin, Mia’s estranged father, who ostensibly returns to her life with a change of heart. Naturally, Mia is wary, and Philip contemplates whether to draw the line before accepting the job. This concern stems from the role requiring him to promise he will never abandon Mia again, even though after three weeks and the completion of the exam, he will have to fabricate a story to return to America, effectively leaving the girl feeling forsaken once more. As sweet as it is to witness Philip/Kevin gain Mia’s trust and engage in her education—taking her to events like a Monster Cat Festival (a vibrant and colorful parade that showcases Japan's natural beauty)—one cannot help but question the mother’s reasoning in believing this is a solid plan, which could possibly shatter trust and leave emotional scars. Even if Mia performs better academically, what assurance is there that her improvement will persist after this false father departs, or even worse, should she discover the truth and worsen tensions with her mother? The plan is perplexing and neglects to provide the mother’s perspective (her character isn’t even named), with the narrative primarily focused on Philip. Philip's other roles include providing companionship to a lonely elderly actor (Akira Emoto) and expressing concern over the "apology" roles women are often assigned. The film also depicts the lives of various service employees, alongside a subplot where Philip regularly hires someone to alleviate his loneliness. While the film critiques the service for the degrading tasks women may undertake, the resolution concerning Philip, Mia, and her mother feels overly tidy, with the mother seemingly learning nothing and facing no consequences. This film would have benefited from focusing on one aspect of the rental service and developing it as the narrative's foundation. It is not that the film is overly complicated; rather, with numerous supporting characters, it feels compelled to heighten stakes or introduce convoluted twists, leading to contrived rather than natural storytelling. *Rental Family* follows predictable beats that invite eye-rolling. 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You Can Purchase a Pristine 1996 Impala SS Still Encased in Plastic | Carscoops

A flawless 1996 sedan, concealed for almost thirty years, is set to be auctioned with only 78 miles recorded on the odometer.