Bullitt

This movie is a great example of how style can prevail over substance in a film. The story is straight-forward enough, but nothing outstanding - Det. Bullitt is assigned to protect a witness who will testify against the mob. He must protect him for about 40 hours, but somehow, hitmen discover the location of the witness and gun him down before he can testify. Then Bullitt must find the hitmen, as well as deal with an identity twist concerning the witness.

However, the music score, tight direction, the car chase, McQueen's performance, and especially Robert Vaughn's performance as a ruthless politician make "Bullitt" worth watching. In fact the performances are excellent all the way through the cast (with the exception of Jacqueline Bisset, who's there only for eye candy and brings nothing special to her role).

Of course, the car chase is the most famous aspect of the film. Simply put, it's the best car chase ever filmed, bar none. It's been copied, and with today's technology, should have been exceeded. Yet it still stands alone. Why?

First, the presence of Steve McQueen - who else could bring it off as well as he did? Second, the era it came from, the late 60's. Films in those days didn't have chases, so it set the standard. There's no camera tricks or special effects to screw it up, what you see is what you get. It's just wouldn't be the same if one of today's big stars got in his BMW to chase another guy in a Porsche, complete with special effects, the obligatory explosions and slow-motion techniques.

If you've never seen it, watch it. If you have seen it, it still holds up after repeated viewings. 9 out of 10.

With the possibly exception of Casablanca, I think this must be the film I've watched on TCM more than any other. I mean, I feel like I must catch it every time it airs, not intentionally, but I turn on my TV, and there it is. It's gotten where not only do I know how every scene unfolds in order, but I also almost feel like I could write down the action shot by shot without looking. And even so, I'm still not sure I understand the plot after all these viewings! The mobsters and informants are almost meaningless. They're just there to give Steve McQueen someone to chase and shoot.

The real conflict of the movie is between McQueen's Bulitt and Robert Vaughn's Chalmers (is Superintendent Chalmers, or "Super Nintendo Chalmers" as Ralph Wiggum once called him, named after this character?). The whole movie appears to be a set-up for the one moment McQueen can say BS to Vaughn when he suggests compromise is sometimes okay. Anyway, I love the '60s vibe. I love Jacqueline Bissette wearing only pajama tops and apparently sleeping nude. I love the view of the street from her breakfast nook (looks just like the view from the apartment Benjamin rents in The Graduate). I love the flute-led jazz combo at the restaurant (they're probably somebody real and famous, at least within jazz circles, but I've never learned who).

The late 1960s saw two classic, hard-boiled thrillers set in San Fransico; John Boorman's stylised 'Point Blank', and Peter Yates' 'Bullitt'. Calling your hero Bullitt might seem an unsubtle way to emphasise his macho qualities, but in fact Steve MacQueen plays him as a quiet man, not some wise-talking maverick: he does what he has to do, but takes no pleasure in his actions; and survives the roughness of his work not by becoming a monster, but simply by becoming a little less human. It's a believable portrait, and the film as a whole has a procedural feel: there are action scenes, but these are kept in their place in the overall design.

Today, the film is most famous for its celebrated car chase, which makes excellent use, as indeed does the movie as a whole, of the bay area locations, but is not actually shot that excitingly: the conclusion at the airport is more original, though it roots the film in the time when it was permissible to take a loaded gun onto a plane. But overall this is still a classy film, dry, exciting and bleak, and among the very best films of its day. William Friedkin's brilliant 'The French Connection', made a short while afterwards, would appear to owe it a debt.

Steve McQueen's career peaked in 1968 with "Bullitt" and "The Thomas Crown Affair," both ideal vehicles for his cool persona. Although superior to its recent remake, "Crown" has not aged gracefully, while "Bullitt" has held up fairly well.

Cool though he may be, Frank Bullitt is a totally committed detective, perhaps even more so than Gene Hackman's Popeye Doyle or Clint Eastwood's Dirty Harry Callahan. Bullitt is a complete professional who never takes his eye off the objective, no matter how much interference he encounters from his superiors or from Robert Vaughan's scheming politician, Walter Chalmers. And Bullitt, unlike Doyle or Callahan, operates without the histrionics. No one-liners, no yelling and screaming tantrums from this officer. You may not like him very much, but you have to respect his dedication to duty and you'll quickly share his absolute contempt for Chalmers.

"Bullitt" is best remembered for its spectacular car chase in which McQueen reportedly did most of his own driving. But this is not primarily an action film. Aside from the chase and the final shootout at SFO, there's not a lot of violence. Most of the attention is on Bullitt's maneuvering to unravel the mystery and to keep Chalmers off his back.

Recommended if you like McQueen or policiers in general. The pace may be a little slow for people under 30 who are used to a more slam-bang, less cerebral approach to this sort of thing, but "Bullitt" is still worth your time. Just don't expect "Lethal Weapon."

Despite having aged somewhat, Bullitt remains a tough, gritty, and altogether realistic portrait of police life in late sixties San Francisco. The film is of course most renowned for the spectacular (even by today's standards) car chase in which star Steve McQueen famously did his own stunt driving (I wonder what the insurance policy was like?!) Although McQueen didn't really have to stretch beyond his already established screen persona, he is perfect in the role. He is Bullitt like Connery is Bond. Maybe the role was tailored specifically for him. He also has Jacqueline Bisset (Cathy), who can more than hold her own with any Bond girl, to come home to! She adds a welcome domestic quality and the audience feels relieved that despite the unforgiving profession Bullitt works in, at least he has a good woman at his side. The location photography in beautiful San Francisco, the to-the-letter accurate procedural dialogue, the political infighting with the smarmy D.A. Chalmers (Robert Vaughn) and the brutally violent action scenes all complement the fine performances to create an entirely engrossing authentic crime drama. Watch for the great Robert Duvall in a minor role as the cabbie.