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Bullitt (1968) 1080p YIFY Movie

Bullitt (1968) 1080p

Bullitt is a movie starring Steve McQueen, Jacqueline Bisset, and Robert Vaughn. An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.

IMDB: 7.56 Likes

  • Genre: Action | Crime
  • Quality: 1080p
  • Size: 2.17G
  • Resolution: / fps
  • Language: English
  • Run Time: 113
  • IMDB Rating: 7.5/10 
  • MPR: Normal
  • Peers/Seeds: 5 / 7

The Synopsis for Bullitt (1968) 1080p

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 ...


The Director and Players for Bullitt (1968) 1080p

[Director]Peter Yates
[Role:]Steve McQueen
[Role:]Robert Vaughn
[Role:]Don Gordon
[Role:]Jacqueline Bisset


The Reviews for Bullitt (1968) 1080p


It was unbelievable in the theater ...Reviewed byBrent (beam_er)Vote: 8/10

I'll never forget the first time I saw this great car chase sequence in the theater. You felt the seat go away from you as you rode with Steve McQueen in that awesome sounding Mustang. The Plymouth don't sound too bad either. Very memorable.

When that bad guy puts on his seat belt, You just know Sh** is about to hit the fan. I just love the way the music cuts a way and all you hear for the next few minutes are engines roaring, tires squealing, and metal being customized by close calls that missed. I just saw this again yesterday. The film in DVD with the wide screen ... well worth the rental, IMHO.

Ok granted, the blood is a little lame, and the editing could have been a bit tighter, but that chase scene ... gave me goose bumps all over again.

Sui generisReviewed byRobert J. MaxwellVote: 10/10

I don't know how this film can be criticized as "dated," except in the most superficial sense of the word. It stands by itself. There hasn't been another movie quite like it, before or since. Essentially a straightforward tale of a policeman unraveling a gangster plot, it alternates between trouvée scenes that look and sound as unrehearsed as real life, and spectacular moments involving chases and shootings.

It's still a highly stylized film of course. Every shot change but one is a cut, not a fade or dissolve. Most people speak more lines when found in Steve McQueen's circumstances, or so I would think. Most men don't come home to find Jackie Bissett asleep in their beds, a pity.

There has probably never been a pursuit like that filmed in the hills of Colma, which is known locally as "the city that waits for the city that waits to die, to die." I once saw a high-speed pursuit in the streets of Philadelphia and was amazed at how slowly and carefully both the police and their quarry were driving -- slowing down for stop signs and all that.

When the broth is reduced, the plot isn't unlike many John Wayne movies. He's a loner, dedicated to his job, living an otherwise uneventful life in a modest apartment, except for one thing, Jacqueline Bissett. His other contacts are distant or perfunctory. His relationship with partner Don Gordon is defined in the first few minutes as strictly professional, nothing more. He's respected but not loved until Bissett appears in his life. How did he get that way? Who knows? Who CARES, really? A person's development can't be explained in a few minutes of screen time, even if we knew what caused it, without recourse to revelations that have always been clichés -- he had zits during adolescence, or they took away his sled when he was just a kid. Not even cheap shots at sympathy mongering -- he lost his wife recently -- are brought in. Bissett is important to the plot because she represents the possibility of his returning to the human race as a person capable of warm and deeply emotional relationships, however clumsy his expressions of warmth may still be.

The conflict between McQueen and Bissett involves her inability to accept the gruesome aspects of the life he leads, a common device. (See John Wayne and Patricia Neal in "Operation Pacific," or Al Pacino and Diane Venora in "Heat".) Bissett finally yields and accepts the conditions. Any other ending would have been pretty bleak (she leaves him and he becomes even more bitter and lonely as he ages) or unbelievable (he resigns from the SFPD and becomes a Zen Buddhist monk). Superficially it seems that McQueen has "won" the contest, but actually it is Bissett who comes out as the more admirable, flexible, capable of changing and adapting, open to further development in her interests.

And as far as that goes, the movie ends ambiguously. Bissett has come back to him, but as McQueen puts his gun aside and washes his face in the bathroom he looks up and stares in the mirror, expressionless. If he doesn't change, the relationship with Bissett is in jeopardy. She will continue to embrace life (I'm glad I don't have to try defining a term like that) while leaving him behind.

The movie was released in 1968, probably shot in 1967, the height of Haight-Ashbury and the flower power movement. If this movie were as dated as some people think, the writers and Yates would have worked in a bunch of timely but far from timeless hippies and their lore. The temptation must have been there but was successfully resisted. The city is used iconically and without touristy shots. Nothing has dated, except that Enrico's is now closed. McQueen unholsters his pistol only once, and fires only two shots. If it were done today, can you imagine the final shootout without the hero and villain using two Uzis each and puncturing every wall, shattering every mirror, and exploding every squib in sight?

The car chase now looks familiar, of course, because it has been imitated a hundred times since "Bullitt" appeared. Around the time of "The Seven Ups," they got tired of just using cars and worked in elevated subway trains, garbage trucks, buses, motorcycles, and so on. The imitations now seem dated in a way this movie simply does not. Whatever happened to our sense of historical depth? This was a breakthrough film and it remains one.

Final note: Watch the crane shot near the end as the 707 is recalled to its perch at the terminal. The camera glides down and allows the nose of the airplane to fill the screen, jigging slowly on its springs, its windshields like eyes, its bulbous black radar dome like the nose on the face of a clown, a hideous and frightening clown. It's a magnificent shot.

I Left My Hubcaps In San FranciscoReviewed byBill SlocumVote: 8/10

The first lone-wolf cop story plays by the rules of the genre it spawned, featuring a charismatic, outsider type who carries a badge and an attitude directed just as much against the egos and hubris of his superiors as against the criminal element.

Frank Bullitt (Steve McQueen) is a detective lieutenant on the San Francisco police force who gets handed a "babysitting job" looking after a would-be Mob informant by ambitious politico Chalmers (Robert Vaughn). Things go wrong with an attempted hit that leaves the informant and his guard in intensive care and Bullitt on the wrong side of Chalmers, not to mention a pair of killer hoods who tool around in a Dodge Charger and have no respect either for stop signs or Mustangs.

"Bullitt" the movie is best-known for an automotive duel between the assassin duo and Bullitt, still championed by some as the greatest car chase in movie history. I think it's been lapped myself, though I admire the long sections of real-time churn-and-burn since it flies in the face of MTV-style fast cutting we know today. The hoods Bullitt chase look like insurance salesmen, but of course they were really stunt men, and with McQueen doing a good deal of his own stunt driving as well, there's a validity to the sequence that makes up for some slackness in the composition.

"Bullitt" is a better film for the things that occur around the car chase, not so much with the central mystery of Johnny Ross as with the scenes of Bullitt in his element, like making coffee, talking with his superiors, eating a sandwich. McQueen's acting was showcased better in films like "The Sand Pebbles," "The Cincinnati Kid," and even his final film "The Hunter," but his star power was never more in evidence than it was here, especially in the scenes he shares with Vaughn, who plays the role of a preppy hardass to perfection and gives both McQueen and the viewer a foil more evil than the real crooks in this picture.

Seeing Bullitt handle Chalmers' baiting is a real lesson in how less is more. There's a scene where a fingerprint check gives Bullitt the opportunity to let Chalmers have it, but instead of rounding on the jerk, he simply tells Chalmers the score as he makes for the door in one of the great underplayed lines ever filmed.

Verisimilitude is everything in "Bullitt," as director Peter Yates and screenwriters Alan Trustman and Harry Kleiner present it. Long scenes are shot in operating rooms, morgues, and hotel-room crime scenes as a way of presenting what we are seeing as real in a way no other film did then and few have done since. Every shot, as Yates explains on his DVD commentary, was shot on a real location, and you feel like he got it all down exactly right, getting the right mix of style and drab reality. A shot cop moans while blood pulses through his wound, while a strangled woman is seen in such gory detail we understand another character's need to throw up over it. Throughout there's Bullitt as only McQueen could play him, saying the right line the right way, jumping in an ambulance to fix a problem, telling his gorgeous girlfriend (Jacqueline Bisset) "It's not for you, baby" in a way that comes off utterly cool rather than gratingly sexist.

I couldn't figure out what was going on with the crooks ? "the Organization" as they are dubbed since calling them the Mafia was seen as demeaning to a particular ethnic group not yet known for creating films like "The Godfather" or "GoodFellas" ? not until I watched "Bullitt" a second time, at which point I realized that wasn't so important. "Bullitt" has an annoying subtext of police work as dehumanizing, something Bullitt understands implicitly makes him a tool for the wrong sort of people. That was the year that was 1968, Chicago and all that, but the au currant anti-establishment notes do rankle.

But McQueen was a cinematic great, one who doesn't get as much attention today but proves here why his image is so enduring. Yates credits the clothes McQueen wears, but Yates himself, along with his writers, Vaughn, Bissett, and a terrific supporting cast led by Simon Oakland as Bullitt's tough-but-fair captain, create one of the great platforms for a movie tough guy ever built, a platform McQueen fills very, very well.

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