(or. Bullit) USA, color, 1968 , Peter Yates
Duration: 113 minutes
Ge black: Crime / Drama
Cast: Steve McQueen (Lieutenant Frank Bullitt), Robert Vaughn (Walter Chalmers), Jacqueline Bisset (Cathy), Don Gordon (Delghetti - Delgado in the Italian version), Robert Duvall (Weissberg), Simon Oakland (Captain Sam Bennett), Norman Fell (Captain Baker), George Stanford Brown (Dr. Willard) Justin Tarr (Eddy), Carl Reindel (Detective Stanton), Felice Orlandi (Albert E. Renick), Vic Tayback (Peter Ross, is listed as Victor Tayback).
Distrubution: Warner
Frank Bullit (Steve McQueen), un tenente della polizia di San Francisco, viene incaricato di provvedere alla sicurezza di un importante testimone, un mafioso fuggito dalla cosiddetta “organizzazione” dopo aver rubato dei soldi ai suoi superiori. Chalmers (Robert Vaughn) gli affida questo compito, fiducioso nella decantata durezza e risolutezza Lieutenant, and is confident that after the testimony of the surveillance is in fact hides a powerful springboard for his political career. Chalmers is, in reality, only a ruthless social climber, capable of any type of cheap shot to reach his goal, including the use of all available power to annoy the people who get into trouble.
Bullit reluctantly accepted because, in the words of his immediate superior, the captain of police, he was chosen for the job and not much else to say. As a good cop trained on the streets, Bullit realizes that the situation is more dangerous than we think, but accepts the job and performs its job.
Il testimone verrà comunque assassinato, la colpa del fatto scaricata al tenente da un fuorioso Chalmers, che vede così sfumare la sua possibilità di fare carriera in politica. Ma ci sono troppi punti oscuri nella trama e Bullit vuole andare a fondo. Il testimone non era chi diceva di essere e per di più aveva aperto la porta ai suoi stessi assassini di sua spontanea volontà. Bullit decide di infrangere le regole, esponendosi ad un rischio che pochi vorrebbero correre, di mettere in gioco tutto il suo modo di essere per una questione di principio, forse, di testardaggine. Va contro tutto e tutti, capito e a malapena sostenuto dai suoi compagni di lavoro e dalla sua ragazza, che occasionalmente però gli si rivoltano contro anche loro, situation he faces with the Stoics. Will eventually lead to complete his investigation, at any cost.
Bullit made history for the central sequence of the chase car in downtown San Francisco, up and down the streets by the particular to the gutter - a dramatic ups and downs became emblematic for all subsequent detective. This scene, in fact, has made the history of cinema, as imitated over and over again to infinity, for its innovative recovery, its realism and its dynamics - factors wholly unique and unprecedented for the time . It is not, however, only in this present film school to have done. The figure of Bullit, police decided, all in one piece, insensitive to the upper echelons of power games and totally intolerant of the hierarchy, has become a classic film of some kind, especially the 70s. We are in a period of profound social change, and examples of films like Dirty Harry Eastwood ("Dirty Harry" Siegel is the best prosecutor in the figure of Frank Bullitt), the Redford of "Three Days of the Condor" and other examples on the same line, they reflect deeply on some universal themes. I am against people who fight the tide by challenging, often opposed to the same forces that created them. There's a cynical view of the world in this film, combined with bitterness base that supports the whole, a review of the fund with which things are destined to remain so in this society, immutable you can only fight for their individuality, not only weapon left to become the sons of all this corruption of the soul. But this struggle is often high price to pay, such as loss of sensitivity and ability to deceive themselves, to ignore that things go wrong in the world. Often, the love and luck abandon these people, making them appear alone in the world - a world that despises them and isolates them, preferring to lie down on our laurels while the media manipulate, the powerful government with questionable means, the authorities prevail.
At a technical level the film is worth directing flawless. It is undoubtedly the best film of the career of Yates, who was able to give an unmistakable imprint on all the work, making the movie a real milestone. You can see the high technical log when the film in the opening sequence shows us a perfect symbol in 60s style, reminiscent bondiane - a title scrolling on top of each other, and Lalo Schifrin, with his "Bullit theme" opens the scene. It 's a sequence studied in detail, in which they show themselves ordinary objects in an indoor environment, while the shadowy figure behind a glass wall, are preparing to hunt down a man, hidden in the shadows. From here begins the story.
whole film, then, is imbued with new scenes for the time, we show the other side of the police investigation. We are witnessing an autopsy, complete with a pathologist who recorded his report and dissects the corpse - a special section of the realistic cinema that we have only a few decades in '68 and that certainly was not common. Delgado Bullit and show us how to search the belongings of the suspects, step step, the scene of the bags of Renick, a move that many would cut as it is unnecessary. But it is above the scene of the corpse of Mrs. Renick and - even earlier - in the aggression of her husband at the Hotel Daniels, one realizes that the various prints of the film, compared to classic detective stories. The woman was found with his throat cut, in a pose very little built, messy, and the scene is worthy of this severity, but also the pathos of the testimony of Cathy, who came concerned about her husband, Frank, but then a collision which occurred With this hard reality that did not previously know. The anger, for he saw in his cold Bullit routine while a young woman lying lifeless at his feet, Cathy pushes to accuse Frank of having transformed into a being insensitive - which Bullit does not disprove it at all.
pride of the whole film is the famous road chase through the streets of San Francisco police, the typical and unmistakable. The Ford Mustang Bullitt is a powerful symbol and instantly recognizable, which leads us to identify quickly with Steve McQueen, racing car driver in real life, skills by which we can enjoy the view of the actor driving the vehicle even in most dangerous scene, where the stuntman not replaced it. The ribs of a Dodge Charger R / T Black (another "muscle car" well-known), Bullit spends himself in a surprising performance, stunning realism to the whole scene, filmed entirely in direct contact and without rollers hairpieces landscape as a backdrop, typical of the post. The camera often takes us inside the vehicles in the race, making us experience the thrill of being inside while they bounce to the famous bumps of Frisco, about 80 miles per hour. It's a memorable scene, filmed with rare skill, which lasted more than nine minutes, as if it had been made was now empty of all poetry and realism, reduced to an empty spectacle unfortunately typical of the cinema of today. No sound only the roaring engines of the two custom vehicles, effectively commenting on the whole scene.
The chase was un'apripista road next to the police, launched a fashion to which almost any kind of film he managed to escape - remember "The violent arm of the law", and Friedkin's "Vanishing Point", on all.
Bullit surprising for its soundtrack: Lalo Schifrin, who became world-famous for its theme of "Mission: Impossible" series, signing one of his masterpieces here. The soundtrack is a mix of jazz, but also dark and frenetic percussion. The pace è fondamentale nell’opera di Schifrin, e qui ne fa sfoggio in maniera egregia. Memorabile la traccia del tema di Bullit, che accoppia perfettamente una melodia ad un personaggio, rendendo l’idea di ogni sua sfumatura psicologica. Ottimo anche “Shifting Gears”, un brano che, come s’intuisce dal titolo, è nato per accompagnare la premessa alla scena dell’inseguimento d’auto – operazione perfettamente riuscita. La musica, quindi, rappresenta un punto in più al film, che lo lega indissolubilmente ad un’epoca, con immediato riconoscimento dei suoni e del modo di fare musica di quel periodo, nell’insieme una piacevole sensazione.
Steve McQueen lega forever his name to that of Frank Bullit, giving us unforgettable interpretation. Its do not give a damn, minimalist and casual, winning right away. There appears to be an ordinary person, full of defects, stubborn and lacking in foresight, at times, and so terribly close to the viewer. It very questionable choices and complete his work, whatever the cost, although perhaps it may seem a futile manhunt that leads to fulfillment. For him, however, it is also a matter of principle: do not surrender before the blindness of the institutions, not let the ambitious nature of social climbers intrude in his work, which is to put you in prison after all the criminals, whoever they are and whatever political significance have their testimony in court. As is often said with eyes and a one-time items, at Chalmers in an exchange of views on the philosophy of life, "You work your side of the street, and I'll work in the mines." For Bullitt is just a matter of point of view, of being behind or beyond the fence, you can play what he does best without a hitch. Each with its own methods. His silence, his being laconic and detached, showing a clear attitude to the routine that has been built out of necessity, that does not deny the man who will pour back, as the last look that gives us the lieutenant, looking in the mirror, exhausted at the end of the film.
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