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Synopsis

In one of his most memorable roles, Steve McQueen stars as Detective Frank Bullitt, a hard-driving, tough-as-nails San Francisco cop. Bullitt has just received what sounds like a routine assignment: keep a star witness out of sight and out of danger for 48 hours, then deliver him to the courtroom on Monday morning. But before the night is out, the witness will lie dying of shotgun wounds, and Bullitt, a no-glitter, all-guts cop, won’t rest until he nabs the gunmen and the elusive underworld kingpin who hired them. From opening shot to closing shootout, Peter Yates’s edge-of-the seat thriller is packed with authentic touches, from on-location San Francisco filming and believably crisp dialogue to uncompromisingly detailed police, hospital, and morgue procedures. The most memorable scene is Bullitt‘s celebrated car chase. McQueen, an expert automobile and motorcycle racer, does his own stunt driving as he propels his high-performance Mustang GT around and over San Francisco’s fabled hills at speeds up to 115 miles an hour. The film is based on Robert L. Pike’s book, Mute Witness.

Director

Original

Peter Yates

Yates began staging plays in the British provinces at the age of 19 and worked as an assistant to J. Lee Thompson and Tony Richardson in the early 1960s. He then alternated between film and TV work and made his feature debut with “Summer Holiday” (1963). Yates’ early work exhibited a talent for fast-paced action, reflected in such films as “Bullitt” (1968), which included one of the most harrowing car chases ever filmed, and “The Friends of Eddie Coyle” (1973). In a change of pace, he directed the coming-of-age comedy-drama “Breaking Away” (1979). During the 1980s Yates crafted a number of fine, character-driven studies such as “The Dresser” (1983) with Tom Courtenay and Albert Finney, “Eleni” (1985) and “Suspect” (1987). In the 90s, he worked sporadically, helming “Roommates” with Peter Falk, and reuniting with Finney for the Irish drama “The Run of the Country” (both 1995). —TCM.com 

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Arctvrvs

9May13

The car chase was phenomenal, that's for sure. Everything else sucked; Bullit was pretty empty, only showing a bit of depth at the verrrrrrry end. This film just dragged and had nothing really going for it except for that awesome, awesome and rightfully famous car chase.

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Hugo Resendiz Saldivar

16Mar13

Ya no hacen peliculas de accion/policiacas asi... mas enfocada al personaje y no a la historia.

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Erick

27Jun12

I didn't expect it to be as violent as it was. The chase in the airport dragged on a bit too long, but other than that the film was perfect.

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Jason Callen

17May12

Finally saw this for the first time. A lot more violent and trashy than I expected, which was great. Really well written, especially in the police dialogue. Oh, and the car chase lives up to the hype.

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Articles

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W184

Notebook Soundtrack Mix #3: "Trespassers Will Be Eaten"

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A propulsive survey of scores focusing on the thriller: procedurals, bank heists, neo-noirs, spy films, giallos, and sci-fi mind-games.

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Daily Briefing. Dave Kehr on Laurel and Hardy

By David Hudson on November 6, 2011

Also: David Thomson on Steve McQueen and Carolyn Kellogg on politics in Hollywood.

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W184

Peter Yates, 1928 - 2011

By David Hudson on January 10, 2011

Nikki Finke "has learned that English film director and producer and four-time Oscar nominee Peter Yates — who helmed such celebrated and

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"Double Take," "Visionaries," William A Fraker

By David Hudson on June 2, 2010

"Cinema is the art of appropriation — whether taking that which is before the camera or that which has already been filmed." J Hoberman

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Lâchez les chevaux !

By Benoît on September 3, 2012

Dès le générique, on comprend que l’on a affaire à un cinéaste qui maitrise entièrement son sujet. Par ses plans en travelling et qui nous présentent une situation, Peter Yates donne d’emblée le ton…  read review

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