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0 of 1 people found the following review helpful:
4.0 out of 5 stars
Timeless, visually spectacular work, thiller, March 21, 2009
Bullitt (1968), is a modern thriller, even 40 years later,
incredibly, which is proof that skill, experience, professionalism
and team work sometimes results in a timeless filming achievement.
The cinematography is simply outstanding, superb, the clarity of
the DVD release is remarkable, with a glossy visual quality present
throughout the movie, whether the closeups of the actors, the
transparency through glass doors and windows or the bright
reflections on the painted finish or chrome of American
automobiles shown.
Despite the hard-edge reality to the story, the authors had the
wisdom to counter-balance a lot of the horror (blood packs going
off, shotgun and pistol action) with the calmness, relaxed mood of
Charles Mingus-style jazz music during even the most tense action
scenes, so as to not freak out anyone in the paying audience.
There does seem a conscious effort by the script writer to
demonstrate American technology to viewers, underlining the modern
times having arrived ... ready-made foot products, wide-scale
airports, mega-cities, telephones, fax machines, coroner and
autopsy work, emergency rooms and the medical teams and equipment,
radio communication in cop cars, intercontinental flights a moment
away (Italy, London), ambulances, superhighways, automatic garage
car washes, etc.
At the same time, a traditional story-line is present with the
classic tug of war between process and objectives, the ends
justifying the means, the merit of a supervisor taking the heat
allowing the street level employees in doing their jobs, confronted
with a necessary bureaucracy, with many parties following events,
whether the public, the high level of management in law
enforcement, the detectives, the gangsters.
McQueen makes his mark, as a police detective, by always having a
solution to minor (or major) obstacles along the way, impeding
progress to his objectives, whether it's by greasing the wheels to
make them turn, ( favors or small gifts) so as to get information,
get access, keep the ball moving. He also does by realizing in a
split second how the high level cop, played by Robert Vaughn, is
more than ready to place all of the blame on the low level cop, so
he needs to take steps to avoid seeing his career end.
As well, it brings into focus the houses of mirrors that a conman
can create to throw the blame on another person, as easily as the
house of mirrors he created to misappropriate off 2 million USD
underworld mone.
The actors are splendid in their maturity, professionalism,
no-nonsense approach while maintaining a warmth to the viewing
audience. There is something for everyone in this work - romance
with a baby-faced 16 year old looking Bisset,( seen in a long dress
shirt and underwear), or the thrilling car chases in San Francisco,
(with a magnificent view to the blue sky and bay in the backdrop,
as the cars descend steep streets at full speed), or the
astonishing clarity of filmed street chases (reckless, insane
speeds, death defying, during which actual public in broad daylight
is present as well as other cars, buses.)
Norman Fell, got his break here, later starring as "Quincy MD, in
his own series. Robert Duvall has a very brief spot as a cab
driver. The release is wide-screen, with subtitles.
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