Referring to ‘BULLITT’ as iconic would be to over-simplify the cultural significance of the movie, especially given its status within the cinematic landscape. Beyond the signature car chase, the film is a masterclass in casting, editing and even has a score by the great Lalo Schifrin – but limiting praise to those singular elements would still be a disservice to the movie in its entirety. Sadly, these days most will forget that the movie is a competent thriller, and perpetually refer to the aforementioned chase scene before delving into McQueen’s stellar performance throughout.
In this simple and straight forward thriller, McQueen stars as the titular Lt Frank Bullitt, an anti-authoritarian cop assigned to protect Johnny Ross (Pat Renella) before he testifies against the Mob (known as The Outfit) at a Senate subcommittee. However, like any neo-noir gangster film The Outfit puts out a hit on their former associate killing him, leaving Bullitt to deal with the fall out as well as seek vengeance for the death of this informant. Further narrative layers are added beyond the pressures of the stereotypically devious politician Walter Chalmers (Robert Vaughan), with the inclusion of the gorgeous Cathy (Jacqueline Bissett) who plays Bullitt’s long-suffering yet supportive girlfriend.
At its core, the movie is a by-the-numbers cop thriller but is filled with a taut narrative, that immediately draws in the viewer. There are themes of corruption and cronyism which are by no means rare or unique story elements in similar films; however there seems to be an almost laconic cynicism peppered into the story which is serviceably told by Director Peter Yates. And yet the overwhelming success of the film, is ofcourse in no small part due to the legendary Steve McQueen in what might be his best performance. One can easily look to films like ‘THE MAGNIFICENT SEVEN’ (1960), ‘THE GREAT ESCAPE’ (1963), ‘THE THOMAS CROWN AFFAIR’ (1968) and ‘THE GETAWAY’ (1972’) and whilst McQueen was brilliant in those movies, there is ample reason as to why ‘BULLITT’ is so highly regarded above those films.
Though the famed car chase scene may not have been the first in movies, it remains revolutionary and potently memorable in how it presents itself. Over 50 years on and the sight of Bullitt’s Ford Mustang roaring aggressively through the streets of San Francisco whilst pursuing a Dodge Charger, still is as riveting as ever. And being so compelling and so masterfully shot, immediately evokes fond memories of this film even though it is only one part of a larger narrative. As previously stated, it is a shame that this single scene often overshadows the rest of the movie, because although it is dated and even cliched in parts; it is still an enjoyable and dramatic cop thriller with an all-star cast. That said, like ‘TAXI DRIVER’ (1976) or ‘THE DEER HUNTER’ (1978) this can also be a slow burn, meandering in places and creating restlessness in the audience. It seems frustrating that Yates’ direction jumps between forced and tepid, but surprisingly there are some neat twists that are injected into the story at various junctures.
Unlike Clint Eastwood’s Harry Callahan who was overly sardonic and aloof, McQueen plays Frank Bullitt with more of an understated charm, with a certain tranquillity that is perfectly juxtaposed against the chaos around him. For the most part he can be viewed as a loner, that although secretly respected by his peers, seeks not for adoration but to simply do his job and do it well. As a single-minded man driven (no pun intended) by results, he isn’t perturbed by his otherwise modest existence in a small apartment and lack of friends. Instead he throws himself into his work with a steadfast enthusiasm that his contemporaries are unable to match. It’s probably one of the more intriguing aspects of McQueen’s characterisation of Bullitt.
There is a deliberateness to his interactions which are largely perfunctory and yet the inclusion of Bissett’s Cathy, allows him to be more humanised and sympathetic. And again contrasted with the more violent Callahan, it is interesting to note that within the brisk 113 minute run time, Bullitt rarely unholsters his pistol; whilst he is definitely not a pacifist by any measure one could assert that McQueen’s representation is more nuanced and not as one-dimensional as Dirty Harry. Though confident, Bullitt is clearly conflicted and McQueen’s true star power shines in his gestures and mannerisms making it less about bravado and more about quiet and expressive thoughtfulness.
Indeed, there is ambiguity within the closing moments of this cinematic gem, with an expressionless McQueen staring into the mirror – therefore looking into himself, with his girlfriend choosing to stay with him. Up until this point, his love interest Cathy had vocally objected to the danger he puts himself in and whilst she acquiesces to his chosen path, the camera lingers on Bullitt’s face, devoid of emotion – it throws into question whether this is a definitive ‘happy ending’.
Though released in 1968, the film still resonates for audiences today and it would be remiss not to consider how well the movie has aged. References to turbulent moments of the era such as the hippy Flower Power movement and Vietnam War and the Assassination of Martin Luther King Jnr are seemingly omitted; however, by virtue of this Directorial decision, the film maintains its focus throughout and the audience are actively engaged as well as compelled.
There is some anecdotal evidence to suggest that McQueen was actually behind the wheel in the now famed car chase across San Francisco. McQueen’s driving skills were recounted by Hollywood martial artist Pat E. Johnson who narrates a rather hilarious story of Steve McQueen taking Bruce Lee in a ride in his Porsche; soundly frightening the latter with some sharp turns on the cliffs of Mulholland Drive. The result was a furious Lee, that according to Johnson managed to create an equal level of fear in McQueen. (Note: Intriguingly Steve McQueen was one of Bruce Lee’s celebrity students with Lee training him in Jeet Kune Do, along with fellow Hollywood A-listers, namely James Coburn, Roman Polanski and Stirling Silliphant among others)
Evidently, ‘BULLITT’ should be mandatory viewing for any dedicated fan of cinema; for whilst it is ground breaking in parts, it still presents a simple crime thriller that respects the audience’s intelligence through its understated manner and yet manages to build to a truly thrilling climactic crescendo. This is the neo-noir genre, done to absolute perfection, courtesy of The King of Cool.