There are some great old movies that necessarily get better
with time. The unspoiled emotional connection with the narrative and characters
provides the staying power for those classics. Then, there are many old films,
well-received at its time, but ultimately looks dated and uninvolving for new
generation of viewers due to the unstoppable transcendence of cinematic
boundaries. We can certainly appreciate the craft that has gone into making the
film, but the thing which made it special in the past has been lost to time. Peter Yates’ police procedural Bullitt (1968) happens to be one of prime examples for
such category of old films. Bullitt was famous for two elements: Steve McQueen’s (considered to be the personification of on-screen cool and suave)
central turn as no-nonsense police detective Frank Bullitt; and the impressive
car chase scene through San Francisco’s perpendicular, narrow streets. Released
a year after Arthur Penn’s crime masterpiece Bonnie and Clyde, Bullitt’s stark,
stylized portrayal of violence became another vital talking point of the film
(Richard Fleischer’s Boston Strangler and Don Siegel’s Madigan also released in
the same year – known for its discomforting on-screen violence in Hollywood cinema).
Bullitt was written by Alan R. Trustman and Harry Kleiner,
which is based on Robert Fish’s novel Mute Witness. Critics who had compared
the book and film adaptation have pointed out the overall change in narration
and mood. Mute Witness is said to be murder/mystery, while its movie adaptation
is a slow-burn action/thriller. Initially, Spencer Tracy was considered for the
protagonist role, since the detective in the novel was less of a cool guy than in
the film version. After Tracy’s death, the script was passed to producer Philip D
Antoni and actor Steve McQueen. They both checked off Peter Yates to take over
the directorial rein. Peter Yates’ impeccable direction of 1967 heist thriller
Robbery (based on infamous Great Train Robbery) provoked the actor &
producer to bring him on-board. Director Peter Yates' controlled pacing and
detailed logistics in action sequences made him the right candidate to flawlessly
actualize the car chase scene (which was brought into script by producer Antoni
and the scene wasn’t left to be shot by the second unit).
Right from the opening sequence, what’s evident is the
undeniable sense of style in Peter Yates’ staging. The opening shot depicts
the faces of group of gangsters, standing against dark background, ready for the
action. The fleeing of former Chicago mobster Johnny Ross (Pat Renella) sets
the narrative wheels in motion. Johnny is set to testify against the crime
syndicate at an upcoming Senate subcommittee hearing, led by hard-nosed
politician Chalmers (Robert Vaughn). The mob would do anything to get its hands
on Johnny. Hence Chalmers asks police detective Frank Bullitt to protect Johnny
until he is able to testify in court. However, that night two hit-men break into
the hotel the witness is staying and fatally shoots him. A young police
detective is also shot in the leg. The attempt to murder Johnny further
continues in the well-guarded hospital. Later, Johnny succumbs to his wounds.
Bullitt covers up the witness’ death to avoid facing repercussions from
Chalmers and most importantly to get to the bottom of this murder before the superiors
closes the case.
Bullitt is outright Steve McQueen the star’s show. Frank
Bullitt is slightly different than the usual charismatic turns from Mr.
McQueen. Bullitt is a man of few words with the saddest pair of eyes. There are
many silent scenes, immaculately studying the star’s face. Incredibly talented
Jacqueline Bisset (who’s often pigeon-holed to play stunningly beautiful girl)
plays Bullitt’s art-loving girlfriend Cathy. Apart from a sequence where she
confronts the ugly reality behind her boyfriend’s police work, she’s pretty
much left to lie under the sheets in bed showing her bare-back or sensually
kiss Bullitt. Underdeveloped is the word to express Cathy and Bullitt’s
relationship. What’s more uninteresting is the butting-heads relationship between
Chalmers and Bullitt. The overly restrained narrative style only allows Robert
Vaughn’s Chalmers to be a blatant and abusive politician. Of course, Mr. Vaughn
plays his underwritten character to perfection (diffuses it with cool menace).
The verbal exchanges between Vaughn and McQueen are also written in a vague
manner, never expressing the depth of their interdepartmental ego clashes. Although
there’s not many flaws in the 60s style acting, the banal treatment of
characters doesn’t provoke any sparks during the conversation. The supporting
cast is full of good character actors like Robert Duvall, Simon Oakland, Don Gordon, etc although they are not left to make much impression.
The most commendable aspect of Peter Yates’ direction is the
use of location to add the much-needed authenticity and grittiness into the
proceedings. Cinematographer William A. Fraker and director Yates’ distinct
location shooting makes excellent use of light and space, matching the
greatness of outdoor scenes in Hitchcock’s Vertigo (the great San Francisco
film). The iconic car chase scene and the less-talked but equally wonderful‘airport
confrontation’ scenes were the prime examples of designing realistic as well as
hair-rising action set-pieces. On hindsight, Bullitt’s chase scene does seem to
be trumped by the harrowing chase in the busy NYC streets in William Friedkin’s
“The French Connection” (1971, the stunt coordinators – particularly Bill
Hickman -- involved in Bullitt realized this great scene too) or the mad-cap
mall car chase in “The Blues Brothers” (1980). Yet, the high-speed car chase in
Bullitt still remains fascinating (an amalgamation of great editing and splendid
stunt driving) and it was one of the instances that revolutionized Hollywood’s
action standards (directors William Friedkin and John-Woo had immensely praised
this scene). The solemn foot chase inside airport premises was also staged
brilliantly as the tension simmers till the shootout. Such tight-rope scenes in
the airport aren’t really possible to shoot nowadays. The documentary-realism
approach employed by Yates doesn’t add any profound layers to the narrative or
characters, yet it leads to few interesting scenes: for example, Bullitt’s
mechanical shopping in the grocery shop or Cathy’s slow-buildup of nervousness
before she runs up to the motel room. Furthermore, this documentary-realism
approach was more perfectly used by directors like Michael Mann and William
Friedkin (and by Yates himself in his 1973 drama/thriller “The Friends of Eddie
Coyle”).
Trailer
Bullitt (114 minutes) is a cop thriller with a wafer-thin
story line and overly vague script stretched almost to two hours. It’s a
special product of another age which may not be wholly involving to modern
viewers. Yet, it’s definitely a watchable movie, bolstered by the cool presence
of Steve McQueen and vivid outdoor shooting around the San Fransisco hills.
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