Bullitt (Peter Yates, 1968): USA

Reviewed by Kyle Calbreath. Viewed on DVD.

Turtle necks have never been slicker than they are right now.  As long as your name is Frank Bullitt, otherwise don’t even bother coming around.

Bullitt carries on as this. Bullitt (Steve McQueen) is called upon by a San Francisco lawyer and senate hopeful, Chalmers, to watch after a key witness in an upcoming court case against a group known as The Organization. After the witness comes all the way from Chicago he is popped off in a dirty motel. Bullitt makes it his new job to romp after the assassins with collected vengeance. His cool demeanor takes him on a wicked car chase through the streets of San Francisco and a foot chase around the SF international airport to a hotel on the outskirts. All the while Bullitt keeps it chill in a dark blue turtle neck, tweed jacket and desert boots.

The editing of the film (Frank P. Keller) makes for quick cuts when the action gets going and a smooth continuity when the facts are being presented. The morgue scene in a series of montage shots of finger printing, examinations and Bullitt’s mug taking in all the information is genuine in graphic detail.

Bullitt is known for the car chase scene. Even if you have not seen the film, you have more than likely heard mention of the chase scene. It’s one of the best there ever was, it is champion and what other films have had to attempt to defeat.

The chase begins with Bullitt as the followed and the men, the two assassins, being the chasers. Bullitt pulls a fast one and before we know it, his Mustang GT Fastback is choking the rearview mirror of the assassins Dodge Charger. Engines rev, tires scream and the smoke burns as the cars launch into the streets at top speed. No soundtrack is used, just the sounds of the taught growl of the two muscle engines and the friction of the asphalt.

The use of much point-of-view shooting puts the viewer next to Bullitt through almost the whole ride. Again, the editing use here is just as unyielding as the handling of the two automobiles. At one point we are riding with the assassins in the Charger, cut to the Mustang on the street, and as sly as that we are slammed back looking through the windshield with Bullitt.

McQueen through this film has snapped himself into my mind. His bad-ass is one that is collectively intimidating not over achieving. The character of Bullitt is hot and simple as the TV dinners he picks up from the market. With the turtle neck and peepers like dry ice, McQueen and Bullitt are eternal icons of manhood cool.


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