{"id":2882,"date":"2017-10-23T05:23:58","date_gmt":"2017-10-23T05:23:58","guid":{"rendered":"https:\/\/travelingboy.com\/travel\/?p=2882"},"modified":"2018-02-17T15:04:18","modified_gmt":"2018-02-17T15:04:18","slug":"bullitt-a-look-back","status":"publish","type":"post","link":"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/","title":{"rendered":"Bullitt \u2013 A Look Back at a Steve McQueen Classic"},"content":{"rendered":"

\"BullittDirected by<\/b>: Peter Yates<\/a><\/p>\n

Screenplay<\/b>: Alan Trustman <\/a>& Harry Kleiner<\/p>\n

Based on novel, “Mute Witness” by Robert L. Pike (Robert L. Fish<\/a>)<\/p>\n

Cast<\/b>: Steve McQueen,<\/span><\/a> Robert Vaughn,<\/span><\/a> Jacqueline Bisset<\/a>, <\/span>Don Gordon<\/a>,<\/span> Robert Duvall<\/a>,<\/span> Simon Oakland<\/span><\/a><\/p>\n

Cinematography<\/b>: William A. Fraker<\/a><\/p>\n

Editing: <\/b>Frank P. Keller<\/a><\/p>\n

Music<\/b>: Lalo Schifrin<\/a><\/p>\n

Frank Bullitt, Establishment Nonconformist<\/em><\/h2>\n

Walt Mundkowsky<\/em><\/p>\n

As an entertainment (\u201cchewing gum for the eyes,\u201d to apply John Mason Brown\u2019s view of TV), Bullitt<\/em><\/strong> (Warner Bros. \u2013 Seven Arts) must be considered \u201ca good buy\u201d: It holds the attention for the whole of its 114 mins. Problems are mostly concealed by the film\u2019s hip stances.<\/p>\n

\"another<\/p>\n

Detective Lieutenant Frank Bullitt (Steve McQueen) is assigned to guard Johnny Ross, a Chicago gangster who is to testify at a Senate subcommittee hearing on organized crime. A none-too-subtle politician named Walter Chalmers (Robert Vaughn) is overseeing the protection. (He tells Bullitt, \u201cA Senatorial hearing has a way of catapulting everyone involved into the public eye \u2014 with subsequent effect on one\u2019s career.\u201d) Bullitt gives Delgetti (Don Gordon) and Stanton (Carl Reindel) the first two shifts and goes out with his girlfriend Cathy (Jacqueline Bisset). During Stanton\u2019s watch two gunmen burst into the room and shoot both him and Ross. The mobster is given \u201cno more than 50\/50\u201d odds of survival; Chalmers is furious. He tells Bullitt, \u201cIn your parlance \u2014 you blew it.\u201d Ross dies during the night, and Bullitt vows, \u201cI want the men that killed him\u201d \u2014 less because they have committed murder than because they have made Bullitt look bad.<\/p>\n

\"Steve<\/p>\n

Fearing that Chalmers will close the case, Bullitt sneaks the corpse out of the hospital and refuses to confess its whereabouts. Chalmers serves Captain Bennett (Simon Oakland), Bullitt\u2019s superior, with a writ of habeas corpus; Bullitt is ordered to reveal Ross\u2019s death and is given only one more day to clear up the case. Eventually it comes out that the dead Ross is not Ross at all. As Bullitt waits for the real Ross at the airport, Chalmers isn\u2019t through (\u201cWe both know how careers are made \u2014 integrity is something you sell the public\u201d). Bullitt kills Ross in a gun battle. When he goes home, he finds Cathy asleep in his bed; the film ends as it should, on a close-up of Bullitt\u2019s gun and shoulder holster.<\/p>\n

\"Steve<\/p>\n

Peter Yates, a 39-year-old Englishman, has directed Bullitt<\/em><\/strong> with cleverness and some imagination. (Reportedly his Robbery<\/em><\/strong> with Stanley Baker secured this assignment.) Two sequences stand out. An 11-minute auto chase through the streets of San Francisco is movieland fantasy. The suspension of disbelief would be better served if this were a quarter of its actual length. The other is the shotgun murder of Ross\u2019s impersonator. Rather jerky close shots of the frantic victim (\u201cNo, wait \u2014 now look \u2014 he told me \u2014\u201d) are intercut with close-ups of the assassin slowly squeezing the trigger; the blast hurls the bloodied Ross against the wall with tremendous force. It seems to last an eternity, and is harrowing. Yates produces many brief strokes which, after their initial impact, leave one with a feeling of rightness. The camera tracks through the hospital ward as Bullitt goes to visit his wounded officer; it comes to a stop on the tense, agonized face of Stanton\u2019s wife at his side. She looks up at Bullitt, eyes asking why. The San Francisco locations work hard to match the McQueen coolness factor, how successfully I cannot say.<\/p>\n

\"SteveThe McQueen mannerisms are present \u2014 the tight little smile, the studied nonchalance \u2014 but count as humanizing touches when the script offers so little. Robert Vaughn was not all that keen on playing Chalmers, but his silky timbre gives great pleasure. As Bullitt\u2019s sidekick, Don Gordon is loyal and patient but not thick-headed, and Simon Oakland captures the essence of quiet strength.<\/p>\n

Jacqueline Bisset is good enough as Cathy that she enlarges the focus of the film \u2014 an error in that it introduces themes it is ill-equipped to resolve. She drives Frank to a motel where he will question a woman, and waits in her car. When the cops converge on the motel she runs in, thinking he has been hurt. The woman is dead, and Frank is talking calmly to his partner on the phone (\u201cYeah? Yeah, it\u2019s a strangulation\u201d). Her fear for his safety travels through shock, revulsion, and finally anger. \u201cDo you let anything reach you \u2014 I mean really reach you? You\u2019re living in a sewer, Frank \u2014 day after day. (\u2026) What will happen to us in time?\u201d The film and hero seem embarrassed to have stumbled across this (and her?).<\/p>\n

\"SteveBullitt should be seen as a manifestation of the Bogart-style private eye. As Stanley Kauffmann wrote, \u201cThe private eye was the realist\u2019s hope for intelligence and some justice against the uniformed forces of stupidity. He stood in relation to the police as the man who really sees the score against those who see only the rule-book, and his life-style suited his life-view.\u201d When this rebel is neatly tucked back into the Establishment, he loses most of his force and relevance. Within the power structure, the validity of an individualist like Bullitt is largely drained; he resembles a panther that is engulfed and finally smothered by cobwebs.<\/p>\n

William A. Fraker\u2019s glossy Technicolor camerawork is a fine job, despite a tendency to dwell on irrelevancies and trivia (close-ups of the nose of a Boeing 707, a microphone, a red light, some baggage tickets; weird angle shots; a shot through a rained-on window). The editing (Frank P. Keller) moves things along smartly without the exciting forward surge of, say, Boorman\u2019s Point Blank<\/strong>. Peter Yates has made Bullitt<\/em><\/strong> about as well as one can make a film about nothing; too bad he isn\u2019t allowed to aim any higher.<\/p>\n","protected":false},"excerpt":{"rendered":"

As an entertainment (\u201cchewing gum for the eyes,\u201d to apply John Mason Brown\u2019s view of TV), Bullitt (Warner Bros. \u2013 Seven Arts) must be considered \u201ca good buy\u201d: It holds the attention for the whole of its 114 mins. Problems are mostly concealed by the film\u2019s hip stances.<\/p>\n","protected":false},"author":45,"featured_media":2876,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[117],"tags":[471,475,107,473,108,474,472],"class_list":["post-2882","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-time-capsule-cinema","tag-bullitt","tag-jacqueline-bisset","tag-movie","tag-peter-yates","tag-review","tag-robert-vaughn","tag-steve-mcqueen"],"yoast_head":"\nBullitt \u2013 A Look Back<\/title>\n<meta name=\"description\" content=\"Peter Yates has made Bullitt about as well as one can make a film about nothing; too bad he isn\u2019t allowed to aim any higher.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bullitt \u2013 A Look Back\" \/>\n<meta property=\"og:description\" content=\"Peter Yates has made Bullitt about as well as one can make a film about nothing; too bad he isn\u2019t allowed to aim any higher.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/\" \/>\n<meta property=\"og:site_name\" content=\"Traveling Archive\" \/>\n<meta property=\"article:published_time\" content=\"2017-10-23T05:23:58+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-02-17T15:04:18+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/travelingboy.com\/travel\/wp-content\/uploads\/2017\/10\/Bullitt-Poster.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"450\" \/>\n\t<meta property=\"og:image:height\" content=\"666\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Walt Mundkowsky\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Walt Mundkowsky\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/\"},\"author\":{\"name\":\"Walt Mundkowsky\",\"@id\":\"https:\/\/travelingboy.com\/travel\/#\/schema\/person\/6752174019efcc705c57da71f3e491e6\"},\"headline\":\"Bullitt \u2013 A Look Back at a Steve McQueen Classic\",\"datePublished\":\"2017-10-23T05:23:58+00:00\",\"dateModified\":\"2018-02-17T15:04:18+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/\"},\"wordCount\":971,\"commentCount\":2,\"image\":{\"@id\":\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/travelingboy.com\/travel\/wp-content\/uploads\/2017\/10\/Bullitt-Poster.jpg\",\"keywords\":[\"Bullitt\",\"Jacqueline Bisset\",\"movie\",\"Peter Yates\",\"review\",\"Robert Vaughn\",\"Steve McQueen\"],\"articleSection\":[\"Time Capsule Cinema\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/\",\"url\":\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/\",\"name\":\"Bullitt \u2013 A Look Back\",\"isPartOf\":{\"@id\":\"https:\/\/travelingboy.com\/travel\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/travelingboy.com\/travel\/bullitt-a-look-back\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/travelingboy.com\/travel\/wp-content\/uploads\/2017\/10\/Bullitt-Poster.jpg\",\"datePublished\":\"2017-10-23T05:23:58+00:00\",\"dateModified\":\"2018-02-17T15:04:18+00:00\",\"author\":{\"@id\":\"https:\/\/travelingboy.com\/travel\/#\/schema\/person\/6752174019efcc705c57da71f3e491e6\"},\"description\":\"Peter Yates has made Bullitt about as well as one can make a film about nothing; 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In his teens he had a dachshund named for German composer Hugo Wolf. Extensive writings on film (1968-72 freelance, a \u201cCinema Obscura\u201d column in Home Theater, 1995-2001). He favors the mine-shaft approach \u2014 in-depth exploration of tiny, unrelated areas. 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