Review of Bullitt (1968) by Will H — 15 Jan 2012

Bullitt, inducted into the National Film Registry a mere few years ago, is an example of a type of film that the action genre has lost; that being one that doesn't depend on effects and CGI, such as modern Michael Bay-style schlock-fests like Transformers, G.

I. Joe, or Fast and Furious, but rather relies on some strong direction, a bankable and iconic star in the "King of Cool" himself, Steve McQueen, some exquisite editing, and good old-fashioned thriller tension.

It's one of those movies that established action as being more than just for escapist entertainment, but also as a potential art form. Sure, the script written by Robert L. Fish and Alan Trustman isn't really anything to write home about, featuring an overly convoluted, somewhat distant, and overall forgettable plot about detective Frank Bullitt investigating why his assignment to protect a mafia informant in San Francisco went wrong.

It's mostly action cliches, the beginning and the lead-in to the climax drag on a bit, and most of the supporting characters fade into the background, particularly the wasted Jacqueline Bisset in the role of Cathy, but overall, the main draw of Bullitt is not the plot.

Modern directors should take note of helmsman Peter Yates' work on this film, as it establishes precisely how to competently stage and shoot action while making it both intense and thrilling. Working together with editor Frank P.

Keller, Yates stages a couple of great set pieces, particularly the now-iconic car chase through the streets of San Francisco that puts Bullitt on the edge as he chases two hitmen tied directly to his investigation.

Keller and Yates make it a true spectacle that puts later, more effects-driven chases in movies like Fast and Furious to shame, and really gives the movie its memorability. The foot-chase at the airport near the end is also quite well-put-together, even if it lacks the brilliance of the earlier sequence, and provides the film with suitable closure.

McQueen's performance as Bullitt cements his immortality as one of the greatest action stars of all time, and the supporting performances from Robert Vaughn, Don Gordon, and Simon Oakland are all quite good.

I also love that the cabbie seen throughout the movie is played by a young Robert Duvall. Lalo Schifrin's jazzy score also adds quite a bit of culture and class to the proceedings, and William A. Fraker's cinematography is gritty and realistic, allowing Bullitt to hold up quite well visually today.

Overall, McQueen and the car chase are what makes Bullitt the historical milestone of action it is today, and even if the plot is somewhat lacking, it's still worth every film fan's time.