When CGI technology were becoming commonplace in film industry, many feared that it could have devastating effects on world's film heritage. Many quintessential films would become unwatchable for younger audiences because of its obsolete special effects techniques. While in certain aspects such dire predictions came true, in others areas CGI technology helped classic flm and classic film icons to get new life. The best example is 1997 car commercial in which CGI technology displayed its formidable and sometimes controversial ability to raise dead actors from the grave and perpetuate their iconic image for new generations. The icon in question belonged to Steve McQueen, one of the most legendary action stars of all times. Commercial also used the music forever associated with Steve McQueen best known film. That film was Bullitt, 1968 action drama directed by Peter Yates.
In this film Steve McQueen plays Lt. Frank Bullitt, San Francisco Police Department detective who enjoys reputation of integrity and professionalism. Because of it he gets recommended to Senator Walter Chalmers (played by Robert Vaughn) for seemingly routine task - to protect Johnny Ross (played by Felice Orlandi), one of the top organised crime officials who defected and is ready to testify on Senate hearing in San Francisco. That task gets ugly when two professional killers visit Ross' hotel room and shoot Ross and one of Bullitt's men. Bullitt, who now must watch over two seriously wounded men in hospital, is determined to find who the assassins were and how they knew where to find their target. But in doing so he also must manoeuvre his way around Chalmers, who wants to pin all blame for the fiasco on the detective and threatens to shut down his investigation.
Today Bullitt is best known for its car chase scene. Often cited as the model for car chase scenes in future films - many of them often using the same San Francisco locations - it is still exciting, despite not being based on special effects technology or clever tricks like most of the scenes made before and after. Bullitt car chase scene is impressive because of its authenticity. Steve McQueen as racing enthusiast has invested a lot of his passion and experience and didn't flinch away from making his own stunts. Result is sometimes raw and imperfect, but it is authentic.
Ironically, this scene is perhaps best remembered, but it is actually among the least important in the whole film. The film that was supposedly redefined action genre has relatively few action scenes. Its genre is closer to drama or conventional thriller; there is more dialogue than shooting and dialogue itself is very sparse. Yet the audience is not bored, thanks to the talents involved. Peter Yates directs this film by seamlessly crossing between quiet introspection and intense drama. In it he is helped both by Frank Keller's perfect editing and Lalo Schiffrin's recognisable and atmospheric score. William A. Fraker's cinematography, despite its sometimes annoying darkness in night scene (which would become recognisable element in 1970s police films), manages to capture attractiveness of San Francisco locations.
Bullitt is different from most police films, especially those that would come in future decades, because of its intense realism. Locations are genuine - not only streets of San Francisco, but also its hospitals and office buildings. Real doctors and real nurses were used as extras. There is very little dialogue and film at times looks almost like documentary, even in the last action scene. With all this authenticity Bullitt looks like genuine film, and it is somewhat strange that many see it as the one that had established police film cliches of 1970s and 1980s. Its protagonist, for example, has very little to do with characters like Harry Callahan or heroes of Lethal Weapon series - he is determined to get the villain but its determination never strands into obsession and he works within the system; his boss, who is strict but fair, stands behind his man; he never loses his cool and the scene in which Bullitt has to endure threats and humiliations from slimy politician is very telling - in it Steve McQueen keeps his calm, unlike his future colleagues who would react with profanities and impulsive gestures.
The acting in Bullitt isn't "Oscar"-worthy nor it was supposed to be. But Steve McQueen is nevertheless very impressive in his role; with script that didn't leave him much opportunity to express emotion he manages to tell a lot with small gestures. Supporting actors, like Robert Vaughn and Simon Oakland, are very good in their roles, but not as good as McQueen. On the other hand, Jacqueline Bisset is wasted in thankless and unnecessary role of protagonist's girlfriend and her stunning looks in some strange way only hamper the film's realism. Bigger flaw of Bullitt lies in plot, which, although intriguing, isn't particularly well explained to the audiences and many would have to watch this film at least two times before they figure out what was all about.
Those flaws, however, won't hamper enjoyment in this film. Repeated viewings would only allow audiences to notice some fine details, especially those that give away period in which this film was made - levels of airport security, cryptoracist attitudes of politicians, fedoras still being part of men's fashion, fixed phone lines as the quintessential tool of police communication and wonders of emerging telefax technology. Bullitt is nevertheless very entertaining film and remainder of the age when word "cool" had more to do what people did than what they looked like.
RATING: 8/10 (+++)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.films.reviews on February 23rd 2004)
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