Une excellente interprétation de Steve Mac Queen dans un rôle d'inspecteur de police tenace qui désire mener à bout son enquête quoiqu'il en coûte. Le film est célèbre pour une étonnante poursuite de voitures dans certaines avenues typiques de San Francisco, véritables toboggans. Seul souvenir marquant... www.cinefiches.com
The jazz score is as slick as the king-of-cool himself, Steve McQueen, moodily setting the opening credits, and later preambling the lone sound of accelerating/decelerating engines during the granddaddy of all car chases, for a masculine strut. The police procedural element may have its down times when it isn't in action/suspense mode, and films like The French Connection certainly improved on that a few years later.
re-rating, A filming machine that works from the beginning, which combines the functionality of classic cinema with the philosophy of the decade in which it was made: being is to fail. McQueen is a great heir of some actors "mieux de nature" (like Cooper or Mitchum) and Yates is a filmmaker who knew how to inhabit a city, San Francisco, with an incisive defined camera. The final chase at the airport is anthological.
Steve Mcqueen always looks comfortable in his own skin. There is a scene where he and his girlfriend go to the beach. That struck me. When a character walks out of the film's plot for a moment of reflection before going back and finishing business. Its a nice touch by Yates
Check out Peter Yates extraordinary use of sound in this film, the hushed conversations in airports, police stations, operating rooms. Yates was a wildly uneven director (The Deep, anyone?) but at his best, a considerable best, his films are marvels. And in McQueen, he found a great actor.
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.