Almost in breadth and depth of a documentary, this movie depicts an auto race during the 70s on the world's hardest endurance course: Le Mans in France. The race goes over 24 hours on 14.5 ... See full summary »
Lee H. Katzin
High profile San Francisco Police Lieutenant Frank Bullitt is asked personally by ambitious Walter Chalmers, who is in town to hold a US Senate subcommittee hearing on organized crime, to guard Johnny Ross, a Chicago based mobster who is about to turn evidence against the organization at the hearing. Chalmers wants Ross' safety at all cost, or else Bullitt will pay the consequences. Bullitt and his team of Sergeant Delgetti and Detective Carl Stanton have Ross in protective custody for 48 hours over the weekend until Ross provides his testimony that upcoming Monday. Bullitt's immediate superior, Captain Samuel Bennet, gives Bullitt full authority to lead the case, no questions asked for any move Bullitt makes. When an incident occurs early during their watch, Bullitt is certain that Ross and/or Chalmers are not telling them the full story to protect Ross properly. Without telling Bennet or an incensed Chalmers, Bullitt clandestinely moves Ross while he tries to find out who is after ... Written by
Two Mustangs and two Dodge Chargers were used for the famous chase scene. Both Mustangs were owned by the Ford Motor Company and part of a promotional loan agreement with Warner Brothers. The cars were modified for the high-speed chase by veteran auto racer Max Balchowsky. Stunt Coordinator Carey Loftin got Bud Ekins to drive the Mustang for the bulk of the stunts. Both of the Dodges were junked after the filming, as was one of the Mustangs. The other less banged-up Mustang was purchased by a Warner Brothers employee after all production and post-production was completed. The car ended up in New Jersey a few years later, where Steve McQueen attempted to buy it. The owner refused to sell, and the car now sits in a barn, and has not been driven until recently when it was used by Ford to promote the 2018 "Bullitt" Mustang when revealed at the Detroit international auto show. See more »
In the closing scene when Bullitt returns home he carrying a folded raincoat, the same coat he threw on the runway. See more »
Come on, now. Don't be naive, Lieutenant. We both know how careers are made. Integrity is something you sell the public.
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Bullitt is an extraordinary film, memorable, powerful, and absolutely riveting. The plot has twists and turns that are believable and lack any pretense of being forced or artificial. Justly heralded for its tremendous car chase--a tribute to legendary driver Bill Hickman, arguably the finest of all motion picture drivers--the film as well captures the feel of gritty detective work in a form that has been copied frequently since, but rarely, if ever, equaled. The film is a delight as a period piece: the easy-going, already laid-back Bay area culture of the late 1960's and early 1970's, the tension between the cool, vaguely anti-establishment Bullitt and the straight-laced local officials and department heads that he finds himself compelled to work with. The other actors are themselves a superb supporting cast: old-timers like Simon Oakland, Norman Fell, an oily (and vaguely Bobby Kennedy-ish) Robert Vaughn, and Don Gordon (as Bullitt's long-suffering but intensely loyal partner). But, as well, there are memorable newcomers: George Sanford Brown as an overworked doctor, Robert Duvall as a sharp taxi driver, and Jacqueline Bisset as Bullitt's trophy architect-girlfriend. Lalo Schifrin contributed a superb, memorable score--just the right mix of jazz and brass and percussion. And, of course, that glorious Mustang. . . .!!! Not to be missed!!!!!
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