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I suppose it’s just coincidence that this film wrapped 27 years to the day before 9/11, but in the wake of those terrorist attacks, and the ultimate sacrifice of hundreds of rescue personnel, this film carries a level of grim irony. Beyond that, however, Irwin Allen’s clichéd, overblown disaster spectacle offers little in the way of significance.
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The 24-hour race in an around the city of Le Mans every June is still considered one of the ultimate tests of driver, crews and cars, but in 1970, when filming on this movie began, it was even more so. This was before many of the safety features drivers now take for granted and when the cars were insanely powerful and fast. The Mulsanne straight was still more than two miles of flat-out, unbroken driving, with cars reaching over 230 mph before braking for the next curve.
Steve McQueen didn’t write, direct or produce this film, but it was still in every way his baby. He wanted to make the ultimate racing film. When not acting, McQueen raced cars and motorcycles for real, much to the horror of the studio executives who coveted the box office he brought in. McQueen was no dilettante, either. He was a serious driver who was competetive in virtually everything he raced and was well respected by his fellow racers. To them, he was just one of the guys who also did some acting on the side.
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Day seven of my own little Robert Wise Film Festival
In 1966, the Vietnam war was just beginning in earnest and Robert Wise made The Sand Pebbles, an epic about another American intervention in Asia forty years earlier. After watching the film, it’s hard to judge whether the film was anti-Vietnam or just about an American gunboat in China in 1926, which is to its credit. Had Wise chosen to stack the deck politically, it would have weakened what was already a powerful story.
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The Great Escape is a featherweight escapist entertainment (pardon the pun) disguised as a true story. While the basic facts of the story are faithful to real events, great liberties are also taken, mostly to make the film more appealing to American audiences.
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Because of its legendary car chase through the streets of San Francisco, Bullitt probably has a reputation as a more action-packed movie than it really is. In reality, it’s a fairly realistic and low key cop drama about a witness protection detail that goes horribly wrong.
Bullitt is also the film that makes the best use of the onscreen image of Steve McQueen. He remains, to this day, the quintessential embodiment of “cool.” Almost without effort, he exudes a presence that most actors would kill for and he does it with a minimalist style that sometimes makes Clint Eastwood look like Al Pacino in Heat.