I have found in my life that few films hit me properly from the start. BULLITT (which I first saw at College) was one of them. It cemented my high opinion of the cinematic acting ability of Steve McQueen, and it has always struck me as one of the best police "procedural" films in terms of the way the investigation is handled by McQueen's titled character. But the chase, at the center of the film, is the highpoint that made me love the film. And oddly enough, Director Peter Yates manages to somewhat top it with the second chase through the runways of an airport at the film's conclusion.

McQueen works under Simon Oakland as a detective in the San Francisco Police Department. He lives with his artistic girlfriend Jacqueline Bissett. One day he is one of the detectives assigned to protect an important witness against the mob that is supposed to be presented to the anti-crime commission by millionaire/would-be politician Robert Vaughn. The witness is set up in a motel with policemen as guards. There should be no problem. Yet two mob hit men manage to crash in, wound the police (one fatally) and kill the witness. McQueen is told of this and goes to the hospital. He has little use for Vaughn (an arrogant creep if ever there was one),or his stooge central police connection Norman Fell. His sole interest now is to find the killers and figure out what happened. He does so by hiding the fact that the witness died - and spreading the word that the police are now redoubling efforts to protect the witness.

While Vaughn fumes and Fell threatens Oakland and McQueen, the latter continues the investigation, aided by cabby Robert Duvall (in an early role). This leads to the chase sequence, which starts with us being aware that the cab and then McQueen's car are being followed by a car with the two hit men in it. The beginning of the sequence is mild, as we see them driving after McQueen, but the turning point is when they have apparently lost him, and he reappears following their car. Then they go into the outskirts of San Francisco, and the roads from the city, with the added threats of other vehicles and of a twelve gage sawed - off shotgun one of the hit men uses.

There are nice procedural moments throughout: McQueen seeing the set up of the now closed crime scene at the motel, with ribbons tracing the trajectories of the bullets; the investigation of a dead woman's trunk and belongings to figure out why she was killed; a sequence with a 1968 version (possibly a first) of a fax machine of that period - a favorite scene of mine because it knocks the props out of both Vaughn's arrogance and Fell's belief that his own future in the police is made. And the issues of the effect of the job on McQueen is not forgotten either. Bissett witnesses the aftermath of some violence, and confronts him on how he can stand it every day.

I do not think any other crime and cop thriller ever hit the notes so naturally and perfectly together. The cast helps from McQueen down to the two hit men (silent roles for stunt men). Witness too that Simon Oakland plays a nice character for once, and does well with his part (look at the scene between him and a threatening Vaughn outside the church Oakland is taking his family to on Sunday). Vaughn is great as a smarmy, selfish piece of work who sees people as pawns to play with for his own benefit. McQueen finally tells him off, but does it effectively and without histrionics.

This is one of those films that just never ages.

This film begins with perhaps the most perfect opening title sequence in film history. The look, the sounds and the titles themselves....all very, very cool. Lalo Schifrin's song is the perfect jazz tune to accompany this and you just know that this movie is something special.

The title character (Steve McQueen) is a Lieutenant with the San Francisco police and he and his partner (Don Gordon) are assigned the task to protect a mob informant. Now considering that this is an action-suspense film, what happens next is no big surprise. However, what was nice is how the film combined realistic looking police work with amazing action and grittiness--like combining Film Noir with and action film as well as a healthy dose of cool. I could say more about the plot, but would rather not--as there are a lot of mystery elements about the film and I'd hate to ruin the surprises and twists.

The most famous part of this film is, of course, the great car chase scene--featuring a Ford Mustang playing 'cat and mouse' with a Dodge Charger up and down the hills of the city. It's a magnificent scene but fortunately there's a lot more to the film than this--it's NOT just this chase but a well-made and intelligent cop film--a very gritty one at that. To make things even better, the film featuring some excellent actors doing their craft in addition to McQueen--such as Robert Vaughn, Simon Oakland and Don Gordon--who I have always thought was an underrated actor.

If you see this film, you may see some parallels with the later Dirty Harry series. Both are set in San Francisco, both feature an undercover cop who hates to play by the rules and both are tough characters. However, McQueen's 'Bullit' is more cool and thoughtful but a lot less intensely angry--and as a result a lot easier to believe...but also a bit less entertaining as he doesn't have all those wonderful Eastwood tag-lines! Personally, I prefer McQueen's style--you may not.

Overall, the film is exceptional--one of the best police films of the era. In fact, I had a hard time deciding whether or not to give it a 9 or 10--and giving any film a 10 is something I very, very rarely do. Why a 10? Well the film has got it all--an interesting plot, great action, terrific tension and a realism that sets it apart from the usual cop film. And, it sure has style to boot. Not surprisingly, this film was very influential and was followed by many police films which were reminiscent of "Bullitt"--such as "The French Connection", "McQ" and, of course, the Dirty Harry films. The only deficits, and they are very, very minor, is that perhaps McQueen is too cool and quiet as well as how inexplicable it is in the airport scene that none of the many, many travelers seem to notice he is holding a gun. You'd think someone would notice and say something! Still, it's a great film from start to finish and it holds up marvelously over time.

I have seen a lot of movies in my short(19 years) life. Some have amazed me, some have been awful. Bullitt is not quite among the best movies I've seen, but it is a wonderful movie and I think too special and important.

Why is it important? Many things really, starting with it being the first mainstream film to be shot entirely on location, with the use of real doctors and architects and it actually made an effort to be accurate with police procedures.

One might argue that these don't necessarily make a good movie. Maybe, I am not saying that because of the film doing all this it is automatically good. What I am saying is that whether I didn't like or loved the movie(in this case loved) I would always try to acknowledge its importance, if it has any.

I can understand in a sense why some mayn't enjoy Bullitt as it is a slow and talky movie. That said, I don't consider any of these flaws in any way. The dialogue is intelligent and clever even in the talky moments, and even though I would hardly call Bullitt a fast-moving movie I personally wouldn't call it a dull one either, thanks to Peter Yates' taut and efficient direction.

For starters Bullitt is very well made, with wonderful locations and interesting cinematography. Sparse it may be, but the music by Lalo Schriffin is very effective, slick and very jazzy.

Bullitt's story is straight-forward but compelling, the violence even then and even now is unashamedly unapologetic. I have seen my fair of movies that had at least one shocking scene, but the killing of the man standing in for Johnny Ross is on a whole new level of shock and engagement value.

The cast are great. Steve McQueen with his piercing eyes and charisma, like he did in The Great Escape, epitomises cool and grit, and Robert Vaughn and Robert Duvall give their usual rock-solid performances. Jacqueline Bissett is perhaps the least exceptional, but even she manages to not be in the shadow too much.

And I cannot talk about Bullitt without mentioning the car chase. It is electrifying, not only was it shot entirely at speed with no under-cranking in sight but McQueen did most of his own driving.

In conclusion, a wonderful movie, and I think it is too an important and interesting one. 9/10 Bethany Cox