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Bullitt (1968)

An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.

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(screenplay) (as Alan R. Trustman), (screenplay) | 1 more credit »
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Won 1 Oscar. Another 6 wins & 9 nominations. See more awards »

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Cast

Cast overview, first billed only:
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...
...
...
...
...
...
...
Dr. Willard
Justin Tarr ...
Eddy
Carl Reindel ...
Stanton
Felice Orlandi ...
...
Pete Ross (as Victor Tayback)
...
1st Aide
...
Westcott
Pat Renella ...
John Ross
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Storyline

High profile San Francisco Police Lieutenant Frank Bullitt is asked personally by ambitious Walter Chalmers, who is in town to hold a US Senate subcommittee hearing on organized crime, to guard Johnny Ross, a Chicago based mobster who is about to turn evidence against the organization at the hearing. Chalmers wants Ross' safety at all cost, or else Bullitt will pay the consequences. Bullitt and his team of Sergeant Delgetti and Detective Carl Stanton have Ross in protective custody for 48 hours over the weekend until Ross provides his testimony that upcoming Monday. Bullitt's immediate superior, Captain Samuel Bennet, gives Bullitt full authority to lead the case, no questions asked for any move Bullitt makes. When an incident occurs early during their watch, Bullitt is certain that Ross and/or Chalmers are not telling them the full story to protect Ross properly. Without telling Bennet or an incensed Chalmers, Bullitt clandestinely moves Ross while he tries to find out who is after ... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

"BULLITT comes to this theatre soon. That ought to shake up the place pretty good. Not many freaky cops like BULLITT around. You look at the Italian shoes and the turtleneck and you have to wonder. You listen to the official beefs about 'personal misconduct', 'disruptive influence', you figure he's got to be up for trade. But when some rare Chicago blood starts spilling in San Francisco, they give BULLITT the mop. They weren't exactly doing him a favour. But they've done a great big one for you" See more »


Certificate:

M/PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

17 October 1968 (USA)  »

Also Known As:

Bullit  »

Box Office

Budget:

$5,500,000 (estimated)

Gross:

$42,300,873 (USA)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| (DVD re-release)

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The late Robert Vaughn repeatedly said that his performance in this film was his best, and contains the work, of which he was most proud. See more »

Goofs

During the airport chase Bullitt removes his jacket but when the chase continues into the airport building, he is again wearing the jacket. See more »

Quotes

Chalmers: Lieutenant, don't try to evade the responsibility. In your... parlance, you blew it. You knew the significance of his testimony, yet you failed to take adequate measures to protect him. So to you, it was a job, no more. Were it more, and you had the dedication I was led to believe...
Bullitt: You believe what you want. You work your side of the street, and I'll work mine.
See more »

Connections

Featured in Siskel & Ebert: Tom Cruise: The Star Next Door (1990) See more »

Soundtracks

The First Snowfall
(uncredited)
Written by Sonny Burke and Paul Francis Webster
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Frequently Asked Questions

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User Reviews

 
Bullitt-speed
18 December 2004 | by (Saffron Walden, UK) – See all my reviews

The late 1960s saw two classic, hard-boiled thrillers set in San Fransico; John Boorman's stylised 'Point Blank', and Peter Yates' 'Bullitt'. Calling your hero Bullitt might seem an unsubtle way to emphasise his macho qualities, but in fact Steve MacQueen plays him as a quiet man, not some wise-talking maverick: he does what he has to do, but takes no pleasure in his actions; and survives the roughness of his work not by becoming a monster, but simply by becoming a little less human. It's a believable portrait, and the film as a whole has a procedural feel: there are action scenes, but these are kept in their place in the overall design.

Today, the film is most famous for its celebrated car chase, which makes excellent use, as indeed does the movie as a whole, of the bay area locations, but is not actually shot that excitingly: the conclusion at the airport is more original, though it roots the film in the time when it was permissible to take a loaded gun onto a plane. But overall this is still a classy film, dry, exciting and bleak, and among the very best films of its day. William Friedkin's brilliant 'The French Connection', made a short while afterwards, would appear to owe it a debt.


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