Bullitt (1968)

Director:

Peter Yates

Writers:

Alan Trustman (screenplay) and
Harry Kleiner (screenplay) ...

Release Date:

17 October 1968 (USA)

Genre:

Action | Crime | Drama | Thriller

Tagline:

Steve McQueen As 'Bullitt'

Plot:

An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.

Plot Keywords:

Killer | Politician | Chase | Hotel | Shotgun

Awards:

Won Oscar. Another 9 wins & 6 nominations

Cast

Steve McQueen	...	Bullitt
Robert Vaughn	...	Chalmers
Jacqueline Bisset	...	Cathy
Don Gordon	...	Delgetti
Robert Duvall	...	Weissberg
Simon Oakland	...	Captain Bennet
Norman Fell	...	Baker
Georg Stanford Brown	...	Dr. Willard
Justin Tarr	...	Eddy
Carl Reindel	...	Stanton
Felice Orlandi	...	Renick
Vic Tayback	...	Pete Ross (as Victor Tayback)
Robert Lipton	...	1st Aide
Ed Peck	...	Westcott
Pat Renella	...	John Ross

Runtime:

114 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.33 : 1

Sound Mix:

Mono

Certification:

Iceland:12 | Portugal:M/12 | Argentina:Atp | Brazil:14 | Australia:PG (TV rating) | Australia:M | Canada:14A | Finland:K-16 | Norway:15 | Norway:16 (1968) | Singapore:PG | Sweden:15 | UK:15 | USA:PG | West Germany:16 | UK:AA (original rating)

Filming Locations:

1153-57 Taylor Street, San Francisco, California, USA

Company:

Warner Brothers/Seven Arts

Trivia:

Two Mustangs and two Dodge Chargers were used for the famous chase scene. Both Mustangs were owned by the Ford Motor Company and part of a promotional loan agreement with Warner Brothers. The cars were modified for the high-speed chase by veteran auto racer Max Balchowsky. Stunt coordinator Carey Loftin got Bud Ekins to drive the Mustang for the bulk of the stunts. Both of the Dodges were junked after the filming, as was one of the Mustangs. The other less banged-up Mustang was purchased by a WB employee after all production and post-production was completed. The car ended up in New Jersey a few years later, where Steve McQueen attempted to buy it. The owner refused to sell, and the car now sits in a barn and has not been driven in many years.

Goofs:

Continuity: During the chase, the Charger changes from a regular Dodge Charger to a Dodge Charger R/T

Quotes:

Bullitt: You sell whatever you want, but don't sell it here tonight.

Movie Connections:

Referenced in "Psych: Black and Tan: A Crime of Fashion (#2.15)" (2008)

Modern directors should take note of the style.

What a change of pace this movie is as compared with its genre today. I'm no old fogey but would that modern directors become smart enough take several pages from its book.

The Bullit character is a precursor of Dirty Harry but a bit more cerebral. Stylistically, the director sets the stage beautifully for McQueen's Bullit. The movie has a European feel (director Peter Yates is a Brit) and achieves its dark mood through quiet understatement. The musical score for instance. Today, music is overly used, overly loud and manipulative. (i.e. in case you are not moved by this scene, here are a division of amplified violins to remind you to weep). In 'Bullit' the music is sparingly used and doesn't intrude at all. It complements the directorial style without setting the agenda.

The feeling of reserved naturalism is achieved through editing and dialogue. There really aren't very many lines in the movie and when characters do speak they are very succinct. Notice the last 15-20 minutes of the movie, most of which takes place at the airport. Hardly a line in it. There is none of the chattiness so prevalent today (especially post "Pulp Fiction") which is so tedious (unless the script is tip-top, which is rare).

Editing is, perhaps, its greatest strong point. The many long edits deserve equal credit with the dialogue in setting the low-key mood. The cinema verite dialogue of the airport scenes (and, say, the scene where McQueen and Don Gordon search the trunk) combined with the long cuts add greatly to understated feel while adding realism.

And the performances are top notch. The spare script helps McQueen shine since the taciturn moodiness fits his persona to a tee. There are very fine performances from all of the supporting cast, from Don Gordon to Bisset to Fell to Duvall to Oakland. This is a great movie for watching faces. Note the expressions of the hit men during the chase scene (just another example of this movie letting the little touches speak volumes).

The chase scene certainly deserves its billing as one of the best in movie history. Recently, 'The Transporter' was lauded for its opening chase sequence. The one in 'Bullit' is a marvel compared. In 'The Transporter' sequence I'm not sure there is a cut that lasts more than three seconds. In 'Bullit' it is again the editing which sets it apart here. The long edits give you the feel of acceleration and deceleration, of tire smoke and gears, of wind and the roller coaster San Francisco streets. You are given the time to place yourself in the frame. In short, 'Bullit' uses real craftsmanship. Films like 'The Transporter' use hundreds of quick edits to mimic the danger and immediacy of 'Bullit' but it comes across as hot air, confusion instead of clarity. The two scenes are perfect set pieces of easy (and hollow) Mtv-style flash versus real directorial substance.