a5c7b9f00b An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.
Frank Bullitt, a police detective who works for the San Francisco Police Department, is assigned to protect a witness for 40 hours, issued by the ambitious politician, Walter Chambers. Before the night is over,two hit men break into the witness's room and kills him and wounded a police officer. Knowing this, Bullitt gather up information about the incident and opens up a investigation on his own after his police captain gives him the permission to investigate the crime. When Bullitt opens up the investigation, people around start to ponder about his behavior and his antics on pursuing those who are responsible of the crime.
This is how movies should be made. Non-stop excitement and suspense throughout this excellent movie. The car chase was outstanding, in it's time, but Steve McQueen and the finely paced action make this a movie to see. My only regret was not seeing more of the beautiful Jacqueline Bisset but that was, relatively speaking, a small disappointment. Highly recommended.
It only took me about 30 yrs to realize it: after the spin-out to avoid hitting the biker (Bud Ekins, recently deceased, who alos drove the hill-leaping scenes, and also the fence-leaping scene in "Great Escape" for McQueen), I always though that there were too many downshifts. They were punctuated by that great "baw-baw"of the big 390 ci engine. The number of downshifts, the fours speed gearbox and the geometry of the roads did not make sense, until I realized that he was double up shiftingwelldoubling down. Appartently, the gearboxes of the day required racing up shifts at the speeds required during the scene. Listen and look next time you view it.
Conflict between police sleuthing and political expediency is the essence of Bullitt, an extremely well-made crime melodrama [from Robert L. Pike's novel Mute Witness] filmed in Frisco. Steve McQueen delivers a very strong performancea detective seeking a man whom Robert Vaughn, ambitious politico, would exploit for selfish motives. Good scripting and excellent direction by Peter Yates maintain deliberately low-key but mounting suspense.
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 Renickwelltravel 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.
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