When a defecting Chicago Mobster
arrives in San Fransisco ahead of a Senate Sub Committee hearing on Organised
Crime, the SFPD are tasked with providing around the clock protection in his
cheap boarding house. When hitmen burst in, shooting and seriously wounding a
police officer and the mobster turned witness, Lieutenant Frank Bullitt (Steve
McQueen) and Sergeant Dalgetti (Don Gordon) pick up the trail to hunt down the
murders while uncovering a deeper plot. Their progress is hindered by the ambitious
politician Walter Chalmers (Robert Vaughn) who wants the witness back on the
stand and blames Bullitt for the attack.
Bullitt is one of those classic, cool 60s movies which I’ve always
wanted to see but never got around to doing so until now. I was aware of the
famous car chase and that Steve McQueen was meant to have given one of his
trademark edgy, cooler than ice performances but I knew little else. As well as
the above, the film has a lot to offer the viewer from a fantastic score to
impressive cinematography but I was never engaged in the storyline.
The film won an Oscar for Editing
and it was well deserved. The movie makes use of a plethora on interesting
camera angles to keep the eyes entertained. It’s impressive just how many new
and eye catching angles and camera positions were used. These shots are then
edited together superbly. The two stand out scenes are both chase scenes. The
most famous of these is the car chase which was groundbreaking at the time and
still holds up as one of the greatest, if not the greatest I’ve seen. It lasts
over ten minutes but flashes by as if it’s just mere seconds. The brilliant
score drops out at the first screech of tires and doesn’t return until the
chase is over. Instead the film relies only on the sounds of the engines,
gearbox and tires and this works wonderfully. The stunt driving is magnificent
and the camerawork gets right to the heart of the action, using both in car
shots, close-ups from around the vehicles and panning shots as they whiz past.
The scene also features no dialogue and instead allows the cars to do the
talking. It’s a magnificent scene and yet it’s so simple. Just cars, men and
the streets of San Fransisco. Modern film makers could learn a thing or two by
studying the sequence instead of relying on carnage and destruction as is
popular today.
Following the highs of the chase
the film falls into a bit of a lull. This is replaced towards the end though
with another chase, this time on foot and through an airport. The chase heads
from inside a plane, across the runways and surrounding areas before heading
back inside the terminal for its climax. It’s another great scene, wonderfully
designed and beautifully edited with the great score back in place. The score
added so much to the movie that its use should not be brushed aside. Composed
by Lalo Schifrin it’s a brass and percussion lead jazz score and fits perfectly
with the time period and visuals. It adds tension and excitement when needed
and is a superb accompaniment to the cinematography. Steve McQueen gives a
straight and quiet performance but has the screen presence to pull it off. He
doesn’t say a lot but still carries the film and is the focal point throughout.
Robert Vaughn comes across as slimy and has a habit of popping up wherever the
plot takes the film. He has a somewhat alien quality to him which is
unsettling. Jacqueline Bisset is very attractive and floats around the place
looking lovely but her character added little to the proceedings. Robert Duvall
has a cameo as a cab driver and plays his small role in a naturalistic way.
My main problem with Bullitt is that to me it felt like style
over substance. The film looks and sounds brilliant but the actual plot is just
a run of the mill cops and robbers story with little in the way of originality.
The film making methods are full of originality and that is what makes the
movie the classic that it is but I didn’t invest in the story or the
characters. Despite this the film deserves its place in film history for the
fantastic visuals, top notch soundtrack and incredible chase sequences.
7/10
Titbits
- Frank Bullitt's car is a 1968 Ford Mustang 390 GT 2+2 Fastback. The hitmen drive a 1968 Dodge Charger 440 Magnum. The Charger is just barely faster than the Mustang, with a 13.6-second quarter-mile to a 13.8-second. Two of each cars were used and they had their suspension modified to withstand San Fransisco's hilly streets.
- Robert Vaughn turned down the film as he felt there was no plot. He was eventually persuaded after the studio offered him more money.
- This was one of the first films to use squibs for sunshot wounds.
No comments:
Post a Comment