BULLITT [1968 / 2008] [Exclusive Limited Edition SteelBook] [Blu-ray] [UK Release]
There Are Bad Cops and there are Good Cops – and Then There is Bullitt!

His new assignment seems routine: protecting a star witness for an important trial. But before the night is out, the star witness lies dying and cool, and no-nonsense Detective Frank Bullitt [Steve McQueen] won't rest until the shooters – and the kingpin pulling their strings – are nailed.

From the opening shot to a closing shoot-out, ‘BULLITT’ crackles with authenticity: San Francisco locations, crisp dialogue and to-the-letter police, hospital and morgue procedures.

An Oscar winner for “Best Film Editing” in 1968. This razor-edged thriller features one of cinema history's most memorable car chases. Buckle up and brace yourself for unbeatable action.

FILM FACT No.1: Awards and Nominations: 1969 Academy Awards®: Win: Best Film Editing for Frank P. Keller. Nomination: Best Sound. 1969 American Cinema Editors: Win: Best Edited Feature Film for Frank P. Keller. 1969 Edgar Allan Poe Awards: Win: Best Motion Picture for Alan Trustman (screenwriter), Harry Kleiner (screenwriter) and Robert L. Fish (author). 1969 Motion Picture Sound Editors, USA: Win: Golden Reel Award for Best Sound Editing in a Feature Film. 1969 National Society of Film Critics Awards, USA: Win: Best Cinematography for William A. Fraker. 1970 BAFTA Film Awards: Nomination: Best Supporting Actor for Robert Vaughn. Nomination: Best Cinematography for William A. Fraker. Nomination: Best Direction for Peter Yates. Nomination: Best Film Editing for Frank P. Keller. Nomination: Best Sound Track for Ed Scheid. 1970 Laurel Awards: Nomination: Golden Laurel Award for Action Drama. Nomination: Golden Laurel Award for Action Performance for Steve McQueen. Nomination: Golden Laurel Award for New Female Face for Jacqueline Bisset. 2000 Society of Camera Operators: Win: Historical Shot Award for David M. Walsh. 2007 National Film Preservation Board, USA: Win: National Film Registry Award.

FILM FACT No.2: ‘BULLITT’ was director Peter Yates first American film. Peter Yates was hired after Steve McQueen   saw his 1967 UK feature film ‘Robbery,’ with its extended car chase. Joe Levine, whose Embassy Pictures had distributed Robbery, didn't much like it, but Alan Trustman, who saw the picture the very week he was writing the screenplay for ‘BULLITT’ chase scenes, insisted that Steve McQueen, Robert E. Relyea and Philip D'Antoni contact Peter Yates, despite none of whom had ever heard of Peter Yates, considered Peter Yates as director for ‘BULLITT.’ Steve McQueen based the character of Frank Bullitt on San Francisco Inspector Dave Toschi, with whom he worked prior to filming. Steve McQueen even copied Dave Toschi's unique "fast draw" shoulder holster. ‘BULLITT’ is notable for its extensive use of actual locations rather than studio sets, and its attention to procedural detail, from police evidence processing to emergency room procedures. Director Peter Yates use of new lightweight Arriflex cameras allowed for greater flexibility in location shooting.

Cast: Steve McQueen, Robert Vaughn, Jacqueline Bisset, Don Gordon, Robert Duvall, Simon Oakland, Norman Fell, Georg Stanford Brown, Justin Tarr, Carl Reindel, Felice Orlandi, Victor Tayback, Robert Lipton, Ed Peck, Pat Renella, Paul Genge, John Aprea, Al Checco, Bill Hickman, Mal Alberts (uncredited), Scott Beach (uncredited), Mary Benoit (uncredited), Barbara Bosson (uncredited), Roger Bowen (uncredited), Joy Carlin (uncredited), Brandy Carroll (uncredited), Joanna Cassidy (uncredited), Julie Christy (uncredited), Robert Cleaves (uncredited), Tony Dario (uncredited), Michael L. Davis (uncredited), Jim Demarest (uncredited), Chuck Dorsett (uncredited), Thomas Duncan (uncredited), Marjorie Eaton (uncredited), Walker Edmiston (Voice) (uncredited), Sam Edwards (Voice) (uncredited), Mimi  Fariña (uncredited), Shirley Fitzgerald (uncredited), Dick Geary (uncredited), (uncredited), (uncredited), (uncredited), (uncredited), Frank Gerstle (Voice) (uncredited), Dennis Gribbon (uncredited), Bob Harks (uncredited), Stacy Harris (Voice) (uncredited), Bill Jones (uncredited), Stu Klitsner (uncredited), Jean Le Bouvier (uncredited), Margo Lungreen (uncredited), Larry D. Mann (Voice) (uncredited), Claire Merrill (uncredited), Kathleen Morrissey (uncredited), Ned Moss (uncredited), Vic Perrin (Voice) (uncredited), Charlene Polite (uncredited), Angel Sanchez Jr. (uncredited), Suzanne Somers (uncredited), Liz Treadwell (uncredited), John Vick (uncredited), Erick Vinther (uncredited) and Regina Waldon (uncredited)

Director: Peter Yates

Producers: Philip D'Antoni and Robert E. Relyea

Screenplay: Alan Trustman (screenplay), Harry Kleiner (screenplay) and Robert L. Fish (novel)   

Composer: Lalo Schifrin

Costume Design: Theadora Van Runkle

Make-up: Emile LaVigne

Hair Stylist: Pat Davey

Steve McQueen Hair Designer: Jay Sebring (uncredited)

Cinematography: William Ashman Fraker, A.S.C., B.S.C. (Director of Photography)

Image Resolution: 1080p (Technicolor)

Aspect Ratio: 1.85:1 (Anamorphic)

Audio: English: 2.0 Dolby Digital Stereo Audio
French: 1.0 Dolby Digital Mono Audio
German: 1.0 Dolby Digital Mono Audio
Italian: 1.0 Dolby Digital Mono Audio
Spanish [Castilian]: 1.0 Dolby Digital Mono Audio
English: 2.0 Dolby Digital Stereo Audio

Subtitles: English, English SDH, French and Italian

Running Time: 113 minutes

Region: Region B/2

Number of discs: 1

Studio: Warner Bros.-Seven Arts / Warner Home Video

Andrew’s Blu-ray Review: ‘BULLITT’ [1968] is directed by Peter Yates, who went on to influence a whole generation of action oriented police dramas.

The film stars Steve McQueen as Detective Lieutenant Frank Bullitt and he is assigned to protect a key witness in a Mafia trial. Unfortunately this simple assignment goes horribly wrong. After his friend is gunned down and the witness is left at death's door, Detective Lieutenant Frank Bullitt decides to do some investigating of his own. This brings him into conflict with Walter Chalmers [Robert Vaughn], a corrupt and ambitious politician.

The film has come to be seen as iconic, even seminal, for good reason. Peter Yates' taut, realistic direction encapsulates the prevailing cinematic brand of late 1960’s cool. San Francisco, filmed in glittering sunshine, has never looked so good. Lalo Schifrin's brilliant composed film score, used sparingly, is a perfect backdrop for the film's mood of urban chic.

The film, written by Alan Trustman and Harry Kleiner, hails from the era when action-dramas weren’t just set pieces with a wisecracking star stringing them together. It is based on a novel “Mute Witness” by Robert L. Fish, and the plot, themes, and character work are strong. Detective Lieutenant Frank Bullitt is guarding a witness set to testify on organized crime. When Detective Lieutenant Frank Bullitt is off duty, a hit is put on the witness, and the killers are successful.

Steve McQueen has never been better. Detective Lieutenant Frank Bullitt is up against the system, but his laconic, feline presence invests the role with iconic power. Detective Lieutenant Frank Bullitt is ably opposed by Walter Chalmers as the corrupt and smarmy politician.

Now, Detective Lieutenant Frank Bullitt must obscure the witness’s death to draw out who he thinks is responsible, the politician Walter Chalmers. Along the way, he gets some help from his girlfriend Cathy [Jacqueline Bisset], cab driver Weissberg [Robert Duvall], partner Delgetti [Don Gordon], and boss, Captain Bennett [Simon Oakland]. His cat-and-mouse game takes him on a high-speed car chase through the streets of San Francisco and on a footrace dodging airplanes through the airport’s runways.

Steve McQueen is the essence of cool and he practically created and broke the mould for action stars, particularly beyond the Western and war genres. Of his contemporaries, the actor projects more vulnerability than John Wayne and more athleticism than Clint Eastwood. Both of these facets are critical to Detective Lieutenant Frank Bullitt and Steve McQueen’s experience in racing was a prime factor in creating the greatest car chase of all time. Yet, we believe his stoic cop persona isn’t so tough as to insulate him from the very real losses and threats surrounding Detective Lieutenant Frank Bullitt.

The film's crowning moment, and most famous sequence, is its outstanding and brilliant car chase. Technical advances allowed the action to be filmed as it happened. The cars hurtle round the hills and sweeping curves of San Francisco at speeds approaching 150 miles an hour. Nothing like it had been seen at the time, and it has lost none of its visual intensity. The knowledge that Steve McQueen did much of his own driving serves to enhance the impact of the film.

Directed by English-born Oscar nominee Peter Yates, ‘BULLITT’ takes a rather simple nugget of a story and turns it into a brilliant crime classic. It achieves this through the expert use of location footage, editing, music, mood, and timing, not to mention the laconic, stoic performance of ultra-cool star Steve McQueen. The film seems to have stripped away most attempts at character development or artificial suspense, and focuses almost exclusively on details. Most frustrating for me, is that I thought the ending of the film was very strange and left me high and dry and no conclusion, so sadly that was the most disappointing aspect towards the climax of the film and for me I personally blame director Peter Yates for this very strange end towards the film.

Often credited with giving birth to the modern police film, and the film ‘BULLITT’ is also the most famous today for its climatic car chase sequence, which feels fast and realistic, shot at ground level with hardly any musical enhancement. It's no surprise then that this film won the Oscar for Best Editing.


THE FIRST SNOWFALL (uncredited) (Written by Sonny Burke and Paul Francis Webster)

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Blu-ray Image Quality – Warner Bros.-Seven Arts and Warner Home Video presents us the film ‘BULLITT’ and does a completely outstanding 1080p image transfer that makes full use of the eye-popping Technicolor film and is a visual feast that goes well with the outstanding 1.85:1 aspect ratio. This a very good improvement over the previous release as the daytime and night-time shots are not succumbed to too much grain and have a nice balance particularly during the opening title sequence when the balance of black and white is evident. The colours are not too flashy, and some scenes looked like they could’ve been shot yesterday resulting in a very good transfer. Please Note: Playback Region B/2: This will not play on most Blu-ray players sold in North America, Central America, South America, Japan, North Korea, South Korea, Taiwan, Hong Kong and Southeast Asia. Learn more about Blu-ray region specifications.

Blu-ray Audio Quality – Warner Bros.-Seven Arts and Warner Home Video brings us the film ‘BULLITT’ with an amazing 5.1 Dolby Digital Audio experience and is crystal clear and spectacular. There is good for surrounding the combination of score, effects and dialogue very well throughout all channels. Although there is very little score and a good amount of effects, the outer channels are used for location noises, the occasional appearance of the great Lalo Schifrin score and effects with the middle channels for the dialogue and effects mixing with a film that sounds just as good as it did then.  

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Blu-ray Special Features and Extras:

Special Feature: Audio Commentary by Peter Yates [Audio only] [2008] [1080p] [1.85:1] [113:42] With this featurette, we get to hear this very interesting audio commentary by Director Peter Yates, the guy is pushing 80 years-old, and the track can be a bit slow and is marred with lots of gaps of silence. But as the film starts, he introduces himself and says he had a great pleasure in directing the film ‘BULLIT,’ that you are about to see, and was his first feature film out of England and it was his first film in America and it was entirely due to the due to the actor Steve McQueen who invited Peter Yates over to America and the actor had seen Peter Yates film ‘Robbery’ and felt very lucky shooting the film. Peter Yates also says that the start of the film was supposed to filmed in Chicago, but in the end the long shots and the exteriors were shot in Chicago, but the interiors were all shot in San Francisco, because the whole film was shot on location and this is something Peter Yates asked for, because he felt that he knew more about location shooting with films like ‘A Tastes of Honey’ and did not want to shoot in a studio because the executives would be watching him like a hawk and would of also interfered a lot, and of course it worked out very well. Peter Yate also says that Cinematographer William Ashman Fraker helped a lot because he had also done a lot of commercials and also helped to use all types of lenses and effects, which a lot of people in the film industry did not understand, because you have to realise that it was long before visual effects from computers came on board, and especially with very fast lenses, and also long before fast film was available. Peter Yates focuses a hefty amount on the technical aspects of the production, from detailing specific shots to, of course, the construction of   the famous chase scene. It is definitely refreshing to hear from the one that would know the most about the film ‘BULLITT,’ but unfortunately he really struggles throughout Peter Yates audio commentary track. There are times of long pauses that he doesn't talk at all, and then when he does talk he repeats himself a lot, and has trouble getting the words out smoothly. Peter Yates loves to go into technical details; and talks about shooting and a lot about the locations where he shoots. Dealing with the locations, Peter Yates loves to tell us about how at certain scenes, like the hospital scene, where they used actual doctors and nurses. As for the chase scene, Peter Yates  definitely enjoys the chase just as much as everyone else, and talks about the driving, shooting difficulties, and even Steve McQueen hitting a camera at one  point. If you are a big ‘BULLITT; fan, then this is worth a watch. Intriguingly, Peter Yates does not spend very much time at all talking about the actor Steve McQueen, offering only a few nods to his skill as an actor. Peter Yates feels Steve McQueen the man remains; here at least is an enigma. As the end credits appears, Peter Yates says, “Now you have seen my film ‘BULLIT,’ which I am extremely proud of, and it was great fun directing the film and it was also a great opportunity for me personally and certainly has affected the rest of my career, and my name if Peter Yates and I hope you enjoy running the DVD and now why don’t you go back and run the film again and listen to the dialogue, and at that point this audio commentary by Director Peter Yates comes to an end. 

Special Feature: BULLITT: Steve McQueen’s Commitment to Reality [1968] [1080i] [1.76:1] [10:10] With this featurette, we get to view a short vintage documentary that gives some interesting insights into the making of the ground-breaking film ‘BULLITT,’ which I found to be especially interesting because so much of the film was shot not only on location, but at very difficult locations. Steve McQueen is something of a stuntman in real life, given his extensive interests in motorcycle and car racing, so naturally he wanted to do as many of his own stunts as possible, and I think that kind of dedication really comes across in the film. There is also a lot of interesting footage of the cast and crew working on location, behind the scenes, and this special vintage featurette includes some pretty interesting information about the research that some actors did in preparation for their roles, such as riding along with the San Francisco Police Department officers to learn how they worked, as well as using real doctors and nurses in the hospital scenes. Overall this is a very interesting documentary, and is definitely well worth raking the time to watch it! Contributors include: Steve McQueen, Bill Hickman, Harry Kleiner, Peter Yates, Robert Vaughn and Jacqueline Bisset.

Special Feature: Steve McQueen: The Essence of Cool [2005] [1080i / 1080p] [1.78:1] [87:03] With this featurette, we get to view a documentary about the life and times of actor Steve McQueen. We also get to hear from friends, family, co-stars and admirers of actor Steve McQueen talk about his life and his movie career. We also get to hear from friends, co-stars and admirers of actor Steve McQueen and including first wife, actress and dancer Neile Adams, and third wife, model Barbar Minty who discusses his life in relation to his film career. Steve McQueen’s screen personality was one where women loved him, in part because of his piercing blue eyes, and men both wanted to emulate him and be his buddy. Despite having screen presence even in early bit parts, he didn't start to hone his craft of acting until he was accepted into the Actor's Studio. In what some consider his breakthrough film, he took the sure thing of a meagre pay check instead of taking a percentage of the film’s profits, as he thought the film would be a commercial flop and that film was ‘The Blob’ [1958]. Although he made a name as the rebel loner and an action hero in the television show Wanted: Dead or Alive (1958) and smaller parts in films such as ‘The Magnificent Seven’ [1960], where his status as such was only just the beginning of his rise to stardom and his film career, but in a film starring capacity, it was solidified with his amazing performance in the film ‘The Great Escape’ [1963] that really started his rise to even bigger stardom. The final years of Steve McQueen are told in a way that is poignant and well documented and is well worth viewing. Contributors include: Steve McQueen (archive footage), Robert Culp [Actor], Neile Adams [Dancer/Actor/Singer], Suzanne Pleshette [Steve McQueen’s Friend], Martin Landau [Actor], Hillard Elkins [Neile Adams Manager], Don Gordon [Guest Star Actor in “Wanted: Dead Or Alive”], David Foster [Steve McQueen’s Publicist], Robert E. Relyea [Assistant Director for ‘Never So Few’], Lawrence Kasdan [Writer/Director], Walter Mirisch [Executive Producer for ‘The Magnificent Seven’], Robert Vaughn [Co-Star in ‘The Magnificent Seven’], Eli Wallach [Co-Star in ‘The Magnificent Seven’], Lord Richard Attenborough [Co-Star in ‘The Great Escape’], Bud Ekins [Motorcycle Stuntman], Charles Champlin [Steve McQueen’s Friend/Film Critic], Pat Johnson [Steve McQueen’s Karate Instructor/Stuntman], Loren James [Steve McQueen’s Stunt Double], William Claxton [Photographer], Norman Jewison [Director of ‘The Cincinnati Kid’], Chad McQueen [Steve McQueen’s Son], Haskell Wexler [Cinematographer for ‘The Thomas Crown Affair’], Peter Yates [Director for ‘BULLIT’], Mario Iscovich [Steve McQueen’s Assistant/Friend], Alex Baldwin [Actor in ‘The Getaway’], Katherine Haber [Sam Peckinpah’s Assistant/ Steve McQueen’s Friend], Barbara Minty [Model], Barbara McQueen [Steve McQueen’s Third Wife] and LeVar Burton [Co-Star in ‘The Hunter’].   

Special Feature: The Cutting Edge: The Magic of Movie Editing [2004] [1080p / 480i] [1.78:1 / 1.37:1] [99:23] With this featurette, we get to view a documentary that is about the art of film editing. This is a remarkable documentary is very informative, interesting and successful in clarifying what it is all about, for many, something of a mysterious process. The contributions to film making of directors, actors, designers, cinematographers and sound recordists is self-evident, but the film editor's role has seldom been understood nor its importance fully recognised. This documentary is the first to give directors and editors an opportunity to explain exactly what goes on in the editing room and they have done it superbly. What a pity then, that the references to the history of film editing woven into this story are cursory, inadequate and in some instances completely wrong. Martin Scorsese refers to Edwin Porters' 1902 film, Life of an American Fireman, as the very first film to be edited using crosscutting as a structuring device, and the commentary supports this view, despite convincing evidence to the contrary that was discovered in 1978. In fact the earliest discovered examples of this practise date from 1906. Equally mistaken is the assertion, made several times in this prize-winning documentary, that D.W. Griffith originated the important editing practise of action matching. In fact there is clear evidence of action matching in a British film made as early as 1903 and D.W. Griffith's first film was not made until 1908. There is considerable evidence that Griffith considered action matching to be of very little importance, and when used in his films it is often ill judged and clumsy. All this is curious in a documentary that seeks to explain the history and practise of film editing. One might have expected research on the topic to be as well informed as the comments made by most of the contributors, particularly given that the scriptwriter is Professor Mark Jonathan Harris of the School of Cinema and Television, University of Southern California. Great Documentary, shame some of the information you hear about has some historical inaccuracies. To sum up this featurette, is it went on far too long and a lot of what was said was repeated too much and all in all, I was completely bored senseless and it was a 100% torturous experience and just shy of 140 minutes. Contributors include: Kathy Bates [Narrator], Zach Staenberg [Editor for ‘Bound’ and The Matrix Trilogy], Jodie Foster [Director of ‘Little Man Tate’ and ‘Home for the Holiday’], Michael Tronick [Editor for ‘Beverly Hills Cop III’], Anthony Minghella [Director of ‘’The English Patient’ and ‘Cold Mountain’], Sean Penn [Director of ‘The Crossing Guard’ and ‘The Pledge’], Walter Murch [Editor for ‘The Conversation,’ ‘The English Patient’ and ‘Apocalypse Now’], Martin Scorsese [Director of ‘Taxi Driver,’ ‘Goodfellas,’ ‘Raging Ball’ and ‘Kundun’], Rob Cohen [Director of ‘The Fast and the Furious’ and ‘XXX’], Quentin Tarantino [Director of ‘Pulp Fiction’ and ‘Kill Bill’], Steven Spielberg [Director of ‘Jaws’ and ‘Schindler’s List’], James Cameron [Director of ‘Terminator 2: Judgment Day’], Antony Gibbs [Editor for ‘Tom Jones’ and ‘Ronin’], Mark Goldblatt [Editor for ‘The Terminator’ and ‘Starship Troopers’], Sally Menke [Editor for ‘Reservoir Dogs’ and ‘Pulp Fiction’], Craig McKay [Editor for ‘The Silence of the Lambs’], Richard Marks [Editor for ‘The Last Tycoon’], Ridley Scott [Director of ‘Alien’ and ‘Gladiator’], Alexander Payne [Director of ‘Election’ and ‘About Schmidt’], Kevin Tent [Editor for ‘Election’ and ‘About Schmidt’], Howard Smith [Editor for ‘Point Blank’ and ‘Glengarry Glen Ross’], Conrad Buff [Editor for ‘Terminator 2: Judgment Day’], Dylan Tichenor [Editor for ‘Boogie Nights’ and ‘The Royal Tenenbaums’], Wes Craven [Director of ‘Scream’], Craig McKay [Editor of ‘The Silence of the Lambs’], Carol Littleton [Editor of ‘Body Heat’ and ‘E.T.’], Tom Rolf [Editor for ‘The Horse Whispers,’ ‘Taxi Driver’ and ‘The Right Stuff’], Pietro Scalia [Editor for ‘Black Hawk Down’], Tina Hirsch [Editor for ‘Robocop’ and ‘Basic Instinct’], Peter Honess [Editor for ‘L.. Confidential’ and ‘The Fast and the Furious’], George Lucas [Producer/Director of ‘America graffiti’ and ‘Star Wars’ series], Chris Columbus [Director of ‘Home Alone’ and ‘Harry Potter and the Sorcerer’s Stone’], Paul Verhoeven [Director of ‘Basic Instinct’ and ‘Starship Trooper’], Alan Heim [Editor for ‘Network,’ ‘All That Jazz’ and ‘Lenny’], Michael Tronick [Editor for ‘Under Siege 2: Dark Territory’], Joe Dante [Director of ‘Gremlins’ and ‘Matinee’], Lynzee Klingman [Editor for ‘Home for the Holiday’], Jay Cassidy [Editor for ‘The Pledge’], Thelma Schoonmaker [Editor for ‘Raging Bull’], Michael Khan [Editor for ‘Schindler’s List,’ ‘Raiders of the Lost Ark’ and ‘Saving Private Ryan’], Paul Hirsch [Editor for ‘Star Wars’ and Mission: Impossible’], Anne Coates [Editor for ‘Lawrence of Arabia,’ ‘In The Line of Fire’ and ‘Out of Sight], Richard Chew [Editor for ‘One Flew Over the Cuckoo’s Nest’ and ‘Star Wars’], Richard Marks [Editor for ‘Terms of Endearment,’ ‘As Good As It Gets’ and ‘Apocalypse Now’], Dede Allen [Editor for ‘Bonnie and Clyde’ and ‘Reds’], Donn Cambern [Editor for ‘Easy Rider’ and ‘The Bodyguard’], Lawrence Kasdan [Director of ‘Body Heat’ and ‘The Accidental Tourist’], Carol Littleton [Editor for ‘Body Heat’ and ‘Places in the Heart’], Joe Hutshing [Editor for ‘JFK’], Chris Lebenzon [Editor for ‘Top Gun’ and ‘Days of Thunder’] and Jerry Bruckheimer [Producer for ‘Top Gun’ and ‘Black Hawk Down’].

Special Feature: Theatrical Trailer [1968] [1080p] [1.78:1] [2:52] With this featurette, we get to view the Original Theatrical Trailer for the film ‘BULLITT.’

Finally, with the film ‘BULLITT,’ personally if more attention had been paid to the plot and characterisation, this would have been a great one rather than a good film. Even so, it stands as a cinematic landmark. 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. Without it there may well have been no ‘Dirty Harry’ or ‘The French Connection’ made a short while afterwards, would appear to owe it a debt. When reviewing this crime flick, and who could overlook the unforgettable Mustang v Charger chase through the streets of San Francisco which is arguably the greatest suspenseful masterpiece influential car chase ever filmed. Highly Recommended!

Andrew C. Miller – Your Ultimate No.1 Film Aficionado 
Le Cinema Paradiso  
United Kingdom

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