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
In the strange mega-career of Clint Eastwood, no matter what your overall opinion of the guy is, it can’t be argued that his choices have been fascinating. Before becoming the acclaimed and active old-man director of middle-of-the-road bores he is today, he was a huge super-duper action actor and in his heyday made some interesting zigs and zags (all from 1969-1973 when he made ten films).
Fresh off of Sergio Leone’s Spaghetti Westerns, giving him international box office clout, he made the bizarre musical Paint Your Wagon (1969) with Lee Marvin. The same year Dirty Harry cemented him as America’s premier tough guy, he directed the female stalker thriller Play Misty For Me (1971). He followed that up directing the completely awkward Breezy (1973) about a romance between senior citizen William Holden and a teenage flower child. Also in 1973 High Plains Drifter, which may be his greatest directing accomplishment, was released. Eastwood plays a drifter in the old west and the film opens with him raping a woman (of course, she ended up falling for him). Right in the middle of those crazy four years he made the oddest and maybe most psycosexual film of his career, The Beguiled, a sorta Gothic Civil War almost-ghosty story (in the sense that people are haunted by memories), about female lust. It’s as if Louisa May Alcott’s Little Women went on a Picnic at Hanging Rock.Continue Reading