Bullitt [Blu-ray]
by Peter Yates
![Bullitt [Blu-ray]](/images/Bullitt-Blu-ray-B000MV90IU-L.jpg)
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Blu-ray details
Actor: Don Gordon, Jacqueline Bisset, Robert Vaughn, Simon Oakland, Steve McQueenDirector: Peter Yates
Brand: Warner Brothers
Writer: Alan Trustman
Writer: Harry Kleiner
Writer: Robert L. Fish
Blu-ray: Region Code 0
Audio: English (Subtitled); Spanish (Subtitled); French (Subtitled); English (Original Language), Dolby Digital 5.1; French (Dubbed), Dolby Digital 5.1; Spanish (Dubbed), Dolby Digital 5.1
Format: Closed-captioned, Color, Dolby, Dubbed, NTSC, Subtitled, Widescreen
Picture Format: Widescreen, 1.66:1
Running Time: 114 minutes
Blu-ray Release Date: 2010-01-01
Audience Rating: PG (Parental Guidance Suggested)
Model: 113684
Studio: Warner Home Video
Product features:
- His new assignment seems routine: protecting a star witness for an important trial. But before the night is out, the witness lies dying and cool, no-nonsense Detective Frank Bullitt (Steve McQueen) won't rest until the shooters and the kingpin pulling their strings are nailed. From opening shot to closing shootout, Bullitt crackles with authenticity: San Francisco locations, crisp dialogue and to-
Blu-ray Reviews of Bullitt [Blu-ray]
Blu-ray Review: Waiting for the machine ... waiting for the machine ...
Summary: 5 Stars
Blu-Ray Review ...
Telephones, teletexts, thoroughbred racing cars, medical equipment, airplanes, brick buildings, and firearms. Everything a modern man needs to lose himself with.
A very serious tale of detachment and man caught under the industrialization that besets him on all sides. Humanity breaks apart like ash as things like avarice, materialism, greed, corruption, murder and indifference trump. This is not Steve McQueen at his finest, but definitely at his most serious. If this film were done today, he would've been panned for being too emotionless, too stoic, too robotic. But back in the day, this is what good film making was all about. Especially cop dramas like Bullitt, even though it has the same artistic integrity as The French Connection.
A lot of people love this movie for the car chase scene midway through San Francisco, Livermore and beyond. People often mention the mustang as well. But the layers of this film are vasty and dimensional and go beyond an early homage to John Frankenheimer.
The core story does read like a modernized version of one of Raymond Chandler's stories, but told through the eyes of a police officer and not a detective. The film also, unconventionally has three acts which are all very distinguishable as well. The first act centers around the assignment, the lieutenant's girl and his life and how it interferes and intersects with his career. Ahh ... a cop's struggle to maintain a certain level of normalcy. It wraps up with the botched protection job. I shouldn't worry about spoilers as this film was released in 1968 and you should've seen it by now.
The second act follows from the car chase to a certain reveal about the story, the investigation and where it starts to go. The highlight being a dead girl's body lying on a hotel floor with legs posed like a centerfold in a pair of pantyhose. Very interesting indeed. Speaks volumes about some of the things that occurred in that area and legal history in those same years.
The third act is obviously the conclusion. One of the more interesting moments within the conclusion is a scene where our man Steve shoots a `perp' through a set of plate glass automatic doors. It's like a statement on the separation of realities which is alluded to earlier in the film by Jaqueline Bisset about the difference of their lives. The `perp' shoots a cop through glass and then turns and gets shot himself. It reminded me of the scene in Blade Runner where Joanna Cassidy gets shot in the back by Harrison Ford and then falls like a wilting flower through plate glass windows. This scene might've even been the inspiration for that with the amount of art in it.
Steve's final scene as he's at the wash basin and sees his face in the mirror seems to point a finger at the point I previously mentioned as the first act has a few scenes with bathroom mirrors as well. His stepping toward Jaqueline Bisset also seems to give the viewer a clue as to the continued direction of his character.
Also worth mentioning is that there is strangely a certain amount of same-ness with this film and Hal Ashby's 1971 masterpiece Harold & Maude. What, you say? I know. The chase scene follows a lot of the same route as Maude takes on her car-jacking spree and the scene where Bissett gets out of the car is the same location in San Mateo where Bud Cort and Ruth Gorden have the same kind of conversation on life and humanity. The automotive driving scenes in Harold and Maude are also `as' artistic and maybe even a little more intimate and direct. I can imagine the late Hal Ashby being a fan of this film. It definitely raised the bar in many aspects.
I will say that the movie looks beautifully restored in Blue-Ray and the audio is balanced and dynamic. You can tell a lot of work went into the remastering as this movie is not short by any means and the amount of footage must've been mountainous. Seeing Bullitt in this condition brings a renewed sense of awe to the film that could've very easily been missed during previous viewings - even if you first saw this in the theatre. If you haven't seen the film in this condition, then honestly ... you probably haven't seen it.
... ...
Description of Bullitt [Blu-ray]
His new assignment seems routine: protecting a star witness for an important trial. But before the night is out, the witness lies dying and cool, no-nonsense Detective Frank Bullitt (Steve McQueen) won't rest until the shooters and the kingpin pulling their strings are nailed. From opening shot to closing shootout, Bullitt crackles with authenticity: San Francisco locations, crisp dialogue and to-the-letter police, hospital and morgue procedures. An Oscar winner for Best Film Editing (1968), this razor-edged thriller features one of cinema history's most memorable car chases. Buckle up and brace for unbeatable action.San Francisco has been the setting of a lot of exciting movie car chases over the years, but this 1968 police thriller is still the one to beat when it comes to high-octane action on the steep hills of the city by the Bay. The outstanding car chase earned an Oscar for best editing, but the rest of the movie is pretty good, too. Bullitt is a perfect star vehicle for cool guy Steve McQueen, who stars as a tenacious detective (is there any other kind?) determined to track down the killers of the star witness in an important trial. Director Peter Yates (Breaking Away) approached the story with an emphasis on absolute authenticity, using a variety of San Francisco locations. Jacqueline Bisset and Robert Duvall appear in early roles, and Robert Vaughn plays the criminal kingpin who pulls the deadly strings of the tightly wound plot. --Jeff Shannon
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