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- Lt. Frank Bullitt is selected by Walter Chalmers, a politician with ambition, to guard a Mafia informant. Bullitt's friend and underling is shot and the witness is left at death's door by two hit men who seemed to know exactly where the the witness was hiding. Bullitt begins a search for both the killer and the leak, but he must keep the witness alive long enough to make sure the killers return. Chalmers has no interest in the injured policeman or the killers, only in the hearings that will catapult him into the public eye and wants to shut down Bullitt's investigation.
- An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.
- All the great movie stars have one thing in common, one picture, that despite the greatness of all the rest, leaves their legacy. James Dean in Rebel Without a Cause, Errol Flynn in Robin Hood, MArlon Brando in On the Waterfront, Jack Nicholson in One Flew Over the Cukoo's Nest, I can go on... Bullit (1968) is Steve McQueen's legacy. It is the movie so many people remember him for. It was as close as he ever came to playing himself. I believe it is truly one of the greatest on screen performances ever filmed. Any actor with dreams of becoming a movie star should watch McQueen in this picture over and over again. McQueen plays Bullit, a San Francisco detective who is put in charge of a mob snitch who has agreed to testify against is former bosses, which naturally makes him a target. Things go askew when two men burst into the hotel room where he is staying, and blow him away. They also kill one of McQueen's men. Pressure from his captain, and a local political candidate looking to make a name for himself, Walter Chalmers (Robert Vaughn, who always played a great bad guy) The rest of the film is all McQueen. He single handedly tracks down the killers, and of course, there is the magnificant car chase (still the best ever filmed by the way) that ends in a chase through the San Francisco airport. One scene always stands out for me. It's the scene early on, when we see Bullitt eating dinner by himself in his small apartment. He is a man who is truly alone. McQueen was always best when he played the loner. The man who could do anything. He plays it to perfection here. He probably only has fifty or so lines in the entire film, but it's more than he needs. I am still surprised to this day that he did not recieve an oscar nomination for what I believe is his best work... If you want to see a star at the top of his game, and a great movie, give Bullitt a try, you will not be disappointed...
- There is a moment in Peter Yates' ultra-cool Bullitt where Steve McQueen slips into a corner market in his San Francisco neighborhood to stock up on Swanson's TV dinners, and his efficient stacking method just stops you dead in your tracks. It's so pathetically guyish that, in one moment, your appreciation of Frank Bullitt as a real person and not a cardboard anti-hero cutout grows tremendously.<br/><br/>That Bullitt is flesh and blood is probably not what you'll read in most of the reviews on the IMDb website. Most of the folks writing are going to give you a blow-by-blow of the plot or gabber on about which is better, Mustang or Charger.<br/><br/>Bullitt is more than a "police procedural" or a manly-man gladiatorial battle between big chunks of Detroit rollin' iron, it's a stylized, but believable story of a professional whose honor has been questioned. Frank Bullitt has been assigned the job of protecting a mob informer and, for reasons beyond his control, his charge is torn almost in two by one of the most menacing hit men teams you'll ever see on film.<br/><br/>Strip away the tough, lean, crime drama (and that's hard because Bullitt is a great, great piece of film making and story telling), and you've got a guy whose grasp on the real world is being stripped away. Steve McQueen's character is a pit bull with its jaws clamped down; the heavy hitters on both sides of the law are going to have to kill him to get Bullitt to let go.<br/><br/>But there's a price to his dogged tenaciousness. There are little cracks appearing in Bullitt's life. It seems he's spending as much time trying to fool his superiors as find the hit men who left his witness dead and a detective in his command crippled. When Bullitt finds a peripheral character strangled, his reaction is muted until his girlfriend sees the body. McQueen's face shows it all--he wants to protect her from what he sees every day. She asks him in sad exasperation, "How do you stand it?" <br/><br/>He can't seem to come up with a good answer.<br/><br/>This may seem clichéd now, forty years after Bullitt was filmed, but there's a real cost to Bullitt's determination and it translates well even into the 21st Century, the exhaustion of being on alert all the time, facing off against criminality every day. It's for the most part implied, but it's there. Other films touched on the same theme back in the late sixties--Warning Shot, Madigan, and The Detective come to mind; Bullitt is in a different league, but it compliments those other smaller movies.<br/><br/>McQueen heads a fine cast, and the supporting stars make his character more believable. The film is a snapshot into what was considered cool in 1968--short hair was okay if it was combed forward, ties were out, more could be said with chilly observation than with ripe dialogue. And, of course, what better city to be cool in than San Francisco, the hippie Mecca of the west coast.<br/><br/>Bullitt works on many levels. But enough said about the deeper stuff; how about that car chase!
- Peter Yates-directed cop thriller that relies on McQueen's chiseled features to hold an audience's attention through what's essentially a 45-minute TV show stretched to two hours. Aside from the famous car chase through the streets of San Francisco, Bullitt is primarily watchable for McQueen's performance as a cop breaking the rules to break a case, as well as all the '68 cinema signifiers: lens flares, soft-focus foregrounds, a jazzy Lalo Schifrin score, and vivid location shooting.
- Lieutenant Frank Bullitt (<a href="/name/nm0000537/">Steve McQueen</a>), Sergeant Delgetti (<a href="/name/nm0330150/">Don Gordon</a>), and Detective Carl Stanton (<a href="/name/nm0717947/">Carl Reindel</a>) of the San Francisco Police Department are charged by ambitious politician Walter Chalmers (<a href="/name/nm0001816/">Robert Vaughn</a>) (who is holding a Senate subcommittee hearing on organized crime in two days) with guarding Johnny Ross (<a href="/name/nm0719466/">Pat Renella</a>), the key witness against Johnny's mobster brother Pete Ross (<a href="/name/nm0851861/">Vic Tayback</a>). When Johnny's hotel room is broken into and both he and Stanton are shot, Chalmers seems more interested in placing blame on Bullitt's negligence. When Johnny later dies, Bullitt (with the help of Johnny's doctor) decides to hide his body in an attempt to find out who murdered him. Bullitt is based on Mute Witness (1963) by American writer Robert L. Fish [1912-1981]. The novel was adapted for the film by screenwriters Alan Trustman and Harry Kleiner. "A Song for Cathy" composed by Lalo Schifrin. Yes. It's at the corner of Taylor and Clay Streets in the Nob Hill section of San Francisco. The building where Bullitt lives is right across Clay St at the same intersection. Also, the address given for the Daniels Hotel and the phone number of Coffee Cantata are real places, too. Bullitt contrived to keep his death secret because he feared Chalmers, who had no interest in finding the killers, would, through his obvious influence with SFPD brass, have any investigation quashed. Chalmers' only interest was in the publicity from the Senate hearings which, with his key witness dead, would either not occur or be only negative. Granted, all the hotel clerk said is "Sunshine Cab". Bullitt then left the hotel and immediately found the cab driver (<a href="/name/nm0000380/">Robert Duvall</a>) at the Car Wash. Viewers who have noted this "plot hole" explain it in two ways; (1) Delgetti or Bullitt phoned or went (offscreen) to the cab company to check their records, or (2) the cab driver was assigned to that area and was known to Bullitt. From phone records. The cab driver informs Bullitt that Ross made two calls from a certain phone booth, the second one being long distance (as "He put in a lot of change"). From phone records, Bullitt learns that Ross called Dorothy Simmons person-to-person at the Thunderbolt Motel in San Mateo nine hours before Ross was murdered. In her luggage, Bullitt finds thousands of dollars in traveler's checks issued to Albert Renick and Dorothy Renick as well as travel brochures to Rome, Italy, but no airplane tickets or passports. It's at this point that Bullitt starts putting together the pieces of the puzzle. The chase began because the hitmen had been following Bullitt in hopes that he would lead them to Johnny Ross so that they could finish the job. However, during the first part of the chase, when they're driving at normal city speeds, Bullitt tricks them into passing him in order to see their faces. Now that Bullitt can identify at least one of them, they may have decided to kill him, but when Bullitt outmaneuvered them, they were simply trying to get away. Actually, the car chase was out of sequence moving in seconds from one end of the city to another. Places they pass in the chase include Russian Hill, Bernal Heights, Marina Blvd near Crissy Fields, Potero Hill. John McLaren Park, and ends on Highway 1. It's said that they wanted to perform the chase across the Golden Gate Bridge but couldn't get permission. For two reasons: (1) to kill Dorothy Renick, and (2) to retrieve the passports and airline tickets so that he could get out of the country under a false identity. When he finds the traveler's checks in Dorothy's luggage, Bullitt requests a copy of their passport applications from the Immigration Department in Chicago. At Ross' autopsy, it's noted by the coroner that Ross has multiple surgical scars to his face. When the passport photos come through, Bullitt realizes that the man Chalmers sent him to guard, the man who was shot in the hotel room, was actually used car salesman Albert Renick, surgically altered to look like Johnny Ross, and he concludes that Renick was set up by Ross to take the fall. Unconfirmed Pan American airline tickets to Rome in the Renicks' names are located at the San Francisco airport, so Bullitt and Delgetti go in search of Ross, standing near the gate, waiting for him to board the flight, but Ross doesn't show. On a hunch, Bullitt phones Passenger Service to see whether Renick might have changed his tickets and learns that he was just reassigned to a departing flight to London. Bullitt calls Flight Control and requests that the flight return to the gate. He and Delgetti rush to that gate, and Bullitt boards the flight while the passengers are being made to debark and wait in the departure lounge. He spots Ross at the back of the plane. Knowing that he's been caught, Ross dashes for a tail exit, jumps off the plane, and leads Bullitt on a foot chase over the tarmac. Ross pulls out a gun and shoots at Bullitt then runs back into the terminal where he is eventually caught between two glass doors and shot by Bullitt. Chalmers, who has been waiting at the airport to take custody of his key witness, sees the shooting go down. Bullitt returns to his apartment to find Cathy (<a href="/name/nm0000302/">Jacqueline Bisset</a>) asleep. He puts down his gun and washes his hands. Up until 1967, aircraft hijackings were still relatively rare, having averaged only one per year since 1958. A passenger could board a flight carrying a gun, and nobody would be any the wiser (incomprehensible today). So, it was still easy to bring a weapon onto an airplane when this movie was filmed in 1968. It wasn't until 5 January, 1973, that the Federal Aviation Administration started requiring airports screen passengers and carry-on baggage for obvious weapons and explosives. Viewers who have liked the chase scene in Bullitt recommend starting with <a href="/title/tt0062207/">Robbery (1967)</a> (1967), a dramatization of the Great Train Robbery and directed by Peter Yates, who also directed Bullitt. Following Bullitt, the number of movies with good chase scenes proliferated. Some of the recommended ones include: <a href="/title/tt0065579/">Cotton Comes to Harlem (1970)</a> (1970), <a href="/title/tt0067116/">The French Connection (1971)</a> (1971), <a href="/title/tt0067927/">Vanishing Point (1971)</a> (1971), <a href="/title/tt0069257/">Shaft's Big Score! (1972)</a> (1972), <a href="/title/tt0069495/">What's Up, Doc? (1972)</a> (1972), which spoofs the chase from Bullitt, <a href="/title/tt0069890/">Cleopatra Jones (1973)</a> (1973), <a href="/title/tt0070328/">Live and Let Die (1973)</a> (1973), where the chase takes place in boats, <a href="/title/tt0070672/">The Seven-Ups (1973)</a> (1973), which reuses the Bullitt soundtrack during a similar chase scene, <a href="/title/tt0071571/">Gone in 60 Seconds (1974)</a> (1974), <a href="/title/tt0071424/">Dirty Mary Crazy Larry (1974)</a> (1974), <a href="/title/tt0072325/">Truck Turner (1974)</a> (1974), <a href="/title/tt0076729/">Smokey and the Bandit (1977)</a> (1977), and <a href="/title/tt0077474/">The Driver (1978)</a> (1978). Because Johnny isn't really Johnny Ross. He is a look-alike named Albert Renick. The plan was that Johnny Ross would disappear and not have to testify at the senatorial committee, so he believes that the caller is there to help him to escape and then disappear. He is surprised when the gunman shoots Stanton and then turns the gun on him. a5c7b9f00b
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