A beautifully constructed star vehicle for Steve McQueen at his best, Bullitt is pretty much the prototype for every Hollywood cop movie that followed. True, the car chase may seem a bit less impressive than it once did because filmmakers have been trying to top it for the best part of four decades. More of a cat-and-mouse game than a demolition derby - the whole point is to avoid hitting the other cars - it's overshadowed by the film's other action setpieces: a murder in a safe house, a tense chase in a hospital and a great airport finale that Michael Mann ripped off wholesale in Heat. Yet despite the familiarity of the elements, the film still feels remarkably fresh today, with much of its impact undiluted.
If it still seems so much better today than most of its successors, that's down to old-fashioned star quality. McQueen doesn't have to act cool: McQueen IS cool, even in his pajamas. But in some ways the film is a critique of the whole cool antihero ethos - sometimes being cool means being cold and unfeeling. Bullitt is an impassive, impersonal figure throughout the film, his feelings so buried that he is unable to relate properly with his girlfriend or be anything other than calmly professional with a shot colleague. He is not a bad man, more one who has buried his feelings so deep to enable himself to get through his job that he cannot exhume them when he clocks off.
It helps that director Peter Yates resisted studio pressure to film on the backlot with regular crowd casting, opting instead to shoot on the streets filled with real people, keeping the film fairly grounded. He may have been hired on the strength of the Stanley Baker thriller Robbery, loosely based around the Great Train Robbery and opening with a cracking car chase around the streets of London, but he had the sense to realise that the only way to successfully update what's at heart a 60s spin on the classic Warner Bros.' crime films of the Thirties was to give it a low-key approach that makes the highpoints seems a lot more effective than they should. The film also benefits from good casting (Robert Vaughn, Jacqueline Bisset, Don Gordon, Simon Oakland, Robert Duvall) and better characterisation than the norm, while the plot's not bad either, with Lalo Schifrin contributing a cool score that does not so much follow the action as create an environment for it and Pablo Ferra throwing in a terrific main title sequence that sets the plot in motion.
The 2-disc set certainly boasts an improved transfer over the original single-disc release, but aside from Yates audio commentary, a vintage making of featurette and the trailer, the extras aren't that film specific - a good feature-length documentary on film editing and another on McQueen.