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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: 1 / 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


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.

Great filmReviewed byDAW-8Vote: 9/10

There were so many great things about this film. You've got to love late 1960s cinematography. Contrary to being even a "typical" cop film of its day, many of the scenes here were shot in such a way as to convey a message to the viewer which goes beyond the plotline itself. The is an "urban" film--numerous scenes reflect the city and the mood of 1968 by occasionally commenting on racial issues of the day (the black doctor who is asked to be replaced), and conspicuous shots of blacks, other minorities (after Ross is shot at the hotel) and hippies, porn shops on the corner, etc. I found the airport tarmac chase scene even better than the car chase, the dwarfing of the characters and deafening din by the jumbo Pan American 747s completely pulls the viewer in as if he or she is right there. There were some other great scenes which could almost stand alone, such as one in a restaurant where a jazz quartet (with flute-nice 1960s touch) is playing. It fades into the next scene in which Steve McQueen is laying in bed the next morning, reminiscing about the mood in that restaurant.

Many people complain about the slowness of the film, and it is slow, and the use of such "pointless" scenes as the one in the restaurant, but I find this is one of the things that makes it so great. It conveys the complexity and mundaneness of everyday life. This is a refreshing contrast to hollywood films which are always action-packed and one-dimensional. This film is a pleasure to watch. You come away from it feeling like you have experienced many things, and you're not sure what all they are.

Sui generisReviewed byrmax304823Vote: 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.

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