It’s rare when you can so clearly see it, but when that monolith from 2001: A Space Odyssey dropped in on Hollywood in 1968, the police film also made a clear evolutionary jump with Bullitt. The year before is often cited as the year "New Hollywood" fully kicked off, with the releases of The Graduate and Bonnie & Clyde. That same year the police drama would get the mixed-race/cop-buddy film In The Heat of The Night, as well as the "ultra-violent criminal as hero" in Point Blank. The big screen cops of that era, though, were still closer in spirit to TV's Jack Webb busting hippies on Dragnet 1967 than they were to the characters in the French New Wave inspired Bonnie & Clyde. With the old studio system dying a slow death, the standards were relaxing a bit; therefore actors like Richard Widmark in Madigan, Clint Eastwood in Coogan’s Bluff, David Janssen in Warning Shot, and Aldo Ray in Riot on The Sunset Strip may have seemed a little edgier than usual (Frank Sinatra in The Detective even added an [in its day] shocking homosexual plot line), but those cop flicks still felt closer in style to the ones of the '50s with Glenn Ford or Kirk Douglas. Like an atom bomb Bullitt changed everything, and the policeman movie was never the same.
Actor Steve McQueen was already a big star with The Great Escape and The Cincinnati Kid, and a year earlier he got his only Oscar nomination for The Sand Pebbles. But ’68 was the year he became a mega-star thanks to the two giant hits: Bullitt and The Thomas Crown Affair. With Bullitt, McQueen’s own production company bought the rights to Robert L. Fish’s novel Mute Witness, and then brought in the little known director Peter Yates, having seen his minor heist film Robbery. Here McQueen plays the very cool San Francisco police Lieutenant, Frank Bullitt (with a name like that, how could he not be cool?). He and his guys are given the assignment of babysitting a minor criminal who is going to be the star witness against the mob in a Senate hearing (staged in San Francisco, for some unclear reason) that is being run by an ambitious politician (Robert Vaughn). While Bullitt is out wooing his pretty British girlfriend (Jacqueline Bisset) the safe-house is hit, and a cop and the star witness are fatally wounded. After the witness dies in the hospital, Bullet and his sidekick, Delgetti (Don Gordon), sneak the body out to the morgue so the hit-men will think he’s still alive, turning the film into a series of chases: on foot through the hospital, outside an airport, and most famously in cars through the hilly streets of San Francisco, which is what the film is still mostly remembered for. Along with The French Connection, any great car chase list will forever include Bullitt’s ten minute game of cat and mouse, which brought an authenticity to the car chase using real locations and cameras in the cars. The car chase alone helped win editor Frank P. Miller an Oscar and is still studied today by many a fledgling film maker.Continue Reading
When I was ten years old I declared Foul Play to be the funniest movie ever made. Maybe now it’s not quite as amazing as I thought it was then, but it’s still pretty entertaining. After hitting gold with the scripts for Harold and Maude and Silver Streak, screenwriter Colin Higgins made his directorial debut with Foul Play. Like Silver Streak, Foul Play is a sorta romantic-comedy (slash) mystery-thriller hybrid. It both romanticizes the old style of Cary Grant and accepts the newer Saturday Night Live inspired raunch that has dominated American film comedies ever since. This was Goldie Hawn’s peak years, coming off of Shampoo and just before her signature performance as Private Benjamin. In her mid thirties, she was still playing the big eyed pixie to perfection and she matched Chevy Chase, in his first lead role (he had played some bit parts in The Groove Tube earlier). The film is definitely a time-capsule of disparaging styles, jumping between slapstick sex comedy and violent Hitchcock spoof, there is more would-be suspense than comedy, but when the comedy works I can see why ten-year-old me got so excited.
The plot is some kind of murder mystery that has something to do with an assassination attempt on the Pope or something. It really doesn’t matter. Goldie plays a beautiful San Francisco librarian, one of those unlikely lonely hearts who goes to see old movies by herself. Through a number of contrivances she ends up with a dead man as a date which puts her into a vast conspiracy including an albino hitman working for a corrupt Catholic church until bumbling cop Chevy Chase comes to her rescue. The two eventually put the case together (along with his trench-coated partner Brian Dennehy) and, of course, fall in love. And in-between their Charade-like pleasantries, there’s Burgess Meredith as her wacky karate-chopping neighbor, Dudley Moore as a sex crazed swinger, Billy Barty as a dwarf door-to-door salesman, a laughing snake, opera, car chases, murders, and an Oscar-nominated theme song by Barry Manilow. I may sum this up shallowly, as if I’m poo-pooing, but it’s actually with much affection.Continue Reading
After his death, Steve McQueen reached rebel-cool icon status based on his off-screen machismo (racing cars and motorcycles, martial arts with Bruce Lee, stealing Robert Evans’ wife) and partly on his actual film resume, which in retrospect isn’t as great as you would expect. His peak years start in ’63 with his one masterpiece, The Great Escape (he did the overrated but still influential Western The Magnificent Seven a few years earlier), a couple of big hits that now feel more like remake-bait time capsules (The Thomas Crown Affair and The Cincinnati Kid), and of course there is also Bullitt, largely famous for its amazing high-speed San Francisco auto chases. But for the most part the late sixties were rounded out with forgotten melodramas (Love with the Proper Stranger, Baby the Rain Must Fall and The Sand Pebbles). The early seventies include a couple lesser collaborations with Sam Peckinpah (Junior Bonner and The Getaway) and the super cast/super dud The Towering Inferno. But besides appearing as himself in the Oscar-winning motorcycle documentary On Any Sunday, McQueen’s best film since The Great Escape is the epic Papillon, a film that has been written off by some as overly long and cold. But for my money it’s one of the best prison escape movies ever, as well as an eye-opening look at worlds I knew little about. (ALSO OF NOTE: I first saw it as a very young kid, in its second run at a drive-in, and there are some moments of violence that then confused me, but have stuck with me ever since.)
Based on the questionable autobiography of French petty criminal Henri “Papillon” Charrière, (played by the very American McQueen and shot in exotic locations all over the world) the script is credited to blacklisted legend Dalton Trumbo (Spartacus) and Lorenzo Semple Jr. (one of the creators of the '60s Batman TV series). The film begins in pre-WWII France with Papillon and other convicted criminals being marched through town and on to a boat to be shipped off to a French penal colony work camp. On the long and brutal ship ride, Papillon strikes a deal with a wealthy and rather famous forger, Louis Dega (Dustin Hoffman in full nebbish mode), for protection. With a promise to keep the meek embezzler alive, Dega will finance any escape attempts. Through the course of time, the two strike up an unlikely friendship (a prison adventure Midnight Cowboy). The film covers years in swampy, tough malaria-plagued conditions, finally ending on the infamous Devil’s Island. The film is loaded with wonderful set pieces, including long and short escape attempts, a leper colony, sadistic guards, creepy prisoners, solitary confinements and lots of double crosses (even a nun stabs Papillon in the back). It’s a survival saga and a friendship story, though the survival aspect is the highlight.Continue Reading
Of all the so called Jaws rip-offs - and there were plenty - the best of the lot was The Deep. Most were just exploitation quickies (Great White, Barracuda and, of course, the very entertaining Piranha), but a few actually had classy casts (John Huston, Shelly Winters and Henry Fonda in Tentacles; Richard Harris and Charlotte Rampling in Orca). The Deep, besides having a distinguished cast (Nick Nolte, Jacqueline Bisset, Robert Shaw, Louis Gossett Jr., Eli Wallach) and a credible action director, Peter Yates (Bullitt, The Friends of Eddie Coyle), most importantly, was written by Peter Benchley, the author who wrote the novel Jaws (though everyone agrees the movie Jaws was better than the book). The Deep was his follow-up and although much of it does take place underwater and it even has a nasty electric eel, it’s less a killer fish flick and more of a smuggling thriller (which makes sense since Jaws the novel had a minor but still awkward gangster subplot). But because Benchley and the producers were obviously trying to cash in on the Jaws phenomenon it still, fairly or unfairly, falls into the “rip-off” genre. But, hey, better to be the best “Jaws Rip-Off Flick” than nothing at all.
Benchley adapted his novel along with co-screenwriter Tracy Keenan Wynn (who wrote the great Burt Reynolds prison football flick The Longest Yard). Perhaps the personal histories and relationship dynamics between the characters were a little more fleshed out in longer book form, but on screen they are just touched on, teased out enough to make the movie feel a little more complicated than it probably deserves. Uber-sexy couple David (Nolte in his first big screen star vehicle after his brilliant performance in the TV mini-series Rich Man, Poor Man) and Gail (Bisset) are vacationing in Bermuda and while scuba diving they discover an abandoned old shipwreck, The Goliath. Among the artifacts they discover is a little vial of liquid. It turns out the cute bottle is filled with morphine and the bottom of the ship is covered in it (it was to be used as medical supplies during WWII). This gets the local drug kingpin, Cloche (Gossett Jr.), sniffing around them, knowing it could be worth millions up on the streets of New York. But they hook up with the local treasure-hunter, Treece (Robert Shaw of Jaws, in a less antisocial but equally knowing role), whose team includes his brutish bodyguard, Kevin (Robert Tessier, the often bald-headed tough guy familiar to '70s and '80s B-movie fans), and an untrustworthy old sailor named, oddly enough, Coffin (classic Actor’s Studio super ham Eli Wallach), who is the only survivor of The Goliath. Shaw and Nolte scuba dive and dig up the drug and also uncover another ship full of gold jewelry. There’s talk of some kind of old-timey conspiracy about the king of Spain and a noblewoman. There's a killer eel down there and some sharks make a dangerous cameo. Haitian voodoo comes into it and Bisset often flaunts a lovely wet T-shirt. It has a very “early James Bond” like score by John Barry and a discofied end-credits song by Donna Summer (though her vocals seem to be missing from the DVD version). Oh, and the underwater sequences are spectacularly shot.Continue Reading