Cinema Blind Spots: Bullitt (1968)

We all have films we really, really want to see, but many of them never make it from our Blu-ray shelves to the television, and simply remain on a list for years. As an aspiring film historian, I have read so much about, and seen so many signature scenes from, several important films that, honestly, I sometimes forget to actually watch them from beginning to end. And in other cases, there are pop-culture hits that I have yet to make a priority. So I have decided to use this column as motivation to check off many of the titles I've wanted to see for so long. These are my Cinema Blind Spots.

For my first blind spot, I tried to find a film on my list that could tie into the new blockbuster, "Furious Seven." And the first one that came to mind was "Bullitt" (1968), known for its famous car chase and Steve McQueen's super cool performance as Frank Bullitt (quite possibly the coolest name for a character ever). I have to say, it did not disappoint.

I had heard about “Bullitt” before I really got into movies. It’s such a staple of its genre, and a must-see for any true cinephile, or so I had heard. It took home the Academy Award for Best Film Editing in 1968, and was nominated for Best Sound as well. It is No. 36 on AFI’s “America’s Most Heart-Pounding Movies” and was highly praised by many critics, including Roger Ebert (Chicago Sun Times), Renata Adler (New York Times) and Variety. It’s been heavily influential on so many films, including the "Fast & Furious" franchise and Quentin Tarantino’s “Death Proof” (2007). It’s really a powerhouse in film history. All of this (and more) is why I consider “Bullitt” a major blind spot in my cinematic education.

“Bullitt” opens with a defective organized crime capo, Johnny Ross, fleeing Chicago to San Francisco with promises of immunity and witness protection. It is detective Frank Bullitt (Steve McQueen) and his team who are responsible for “babysitting” Ross until he can testify before a senate subcommittee and spill the beans on the Chicago crime organization. Very early on, we see Ross get gunned down, and fault falls upon the shoulders of Bullitt. The remainder of the film follows our hero as he attempts to unravel the mystery about what’s going on, who’s behind it and how he can stop it.

McQueen is truly great here. In his 1968 review of “Bullitt”, Roger Ebert said: “Stars like McQueen, Bogart, Wayne or Newman aren't primarily actors, but presences …Director Peter Yates understands the McQueen image and works within it.” I couldn’t agree more. Yates knew how to play off of McQueen’s public persona in a way that solidified him as a representative icon of that generation. McQueen’s natural expressions, delivery and determined demeanor really elevated the film for me as a whole. And as if that's not enough, he did many of his own stunts, which is always a treat.

A couple of the additional major players contribute to the film’s strength as well. Robert Vaughn wonderfully plays Walter Chalmers, the politician expected to present Ross to the Senate. He’s a sly, cutthroat type who spends most of the film breathing down Bullitt’s neck. Robert Duvall even makes an appearance, which completely surprised me, because I had no idea he was involved with this film at all going into it (which shows how much I knew). Duvall is surprisingly good here for the short time he’s on screen. He’s not given much to work with, but he makes it work nonetheless.

Honestly, besides those three actors, the rest of the cast feels more appropriate for a 1960s crime show where each would be credited with generic roles like Prisoner No. 1 or Bodyguard. They aren't bad, per se, just very underwhelming. The aged audio quality and mediocre lighting don't help, either. At times, the natural light of the city looked great, and then generic lighting techniques kicked in during interior and night scenes, leaving me wanting much more, even when compared to other films of the time. Despite its outdated qualities, I found it entertaining, in part due to the direction.

The '60s and '70s gave birth to many filmmakers that knew how to tell a story visually, far better than the Michael Bays and James Camerons of today. “Bullitt” contains a lot of beautiful mise-en-scene moments, which add subtext and meaning. The final shot of Bullitt staring at himself in the mirror ties into a conversation he and his love interest, Cathy (Jacqueline Bisset), had earlier in the film. Is Frank Bullitt numb? Desensitized? Is he a monster? I thought this ending was really strong, and it left me contemplating McQueen’s final, subtle expression. This is a testament to Yates’ skill as a director. Even his 1973 low-key crime thriller “The Friends of Eddie Coyle” shows a competence that provides a breath of fresh air for those who, like me, get tired of poor direction and visual storytelling

I guess the big question is whether the film holds up as a whole. Yes and no. No, because of the reasons I’ve provided above: technical aspects like lighting and audio, as well as many of the performances. However, it does hold up in terms of directing, basic storytelling and action. There really isn’t much here to mess up — unless in the hands of a money-hungry studio — but Yates handles it like a pro and finds a way to elevate it above its competition. The famous car chase is truly great! It’s thrilling to watch powerful muscle cars barreling down mountainous California blacktop at 90 miles per hour, or flying over the intersections of those angled San Francisco streets we’ve seen time and time again. The film successfully establishes a suspense that lasts the course of its 114-minute running time with few slip-ups, and for that, I commend the director and his crew.

In sum, “Bullitt” is a blind spot I’m very happy to have remedied. It was a predecessor to such cynical classics as “Dirty Harry” (1971), and one of my favorites, “The French Connection” (1971). Yes, it has many flaws, such as Bullitt's completely pointless love interest; why do writers add these storylines when they amount to nothing!? There's a reason why the writing in "Bullitt" is average, but I digress. “Bullitt” is a film that exhibited how to balance action and storytelling early in the New Hollywood movement while hanging on to its gritty, violent nature. I recommend “Bullitt” and hope you enjoy seeing it for the first time, or have fun revisiting it and hopefully gain a new perspective.

Next week, I will talk about Steven Spielberg’s “A. I. Artificial Intelligence” (2001). Feel free to get caught up and let us know your thoughts on “Bullitt”, “A. I.”, or movies you would like to see me check off the list in the comments below.