Some of the other films on this list are car chase movies, but is a great movie that happens to have a great car chase in it. It still stands up today, because even though photography has gotten more advanced, it's just an astounding scene. It's kind of engineered for maximum tension. Shooting the guard, pulling the gun, the people on the train all panicking. On top of that, you also have the suspenseful situation with the killer on the train. That's what that point-of-view shot you're looking at is.
They just went into real traffic and he just went for it. Again, Bill Hickman, the guy in from Bullitt was the driver in this sequence. The legend goes that they just gunned it for real on a Sunday morning. That's something they would absolutely not let you do in this day and age. The fact that you've also got all of the amazing car chase footage they did for real, like bombing down that street with a POV shot going 50 miles an hour. What an amazing, highly memorable ending, the perfect way to end a heist movie like that. It's such a great ending and even the very final line by Michael Caine, when the bus is teetering on the cliff with the gold on one end and the gang on the other end, and he turns and says, "Lads, I've got an idea." Then it cuts to a helicopter shot and Quincy's score kicks in and that's the ending. It seems like a studio wouldn't let you do something like that today. The fact that it ends on a literal cliffhanger is fantastic. I also absolutely adore the ending of The Italian Job. The score, particularly that track called "It's Caper Time", is incredible. The other thing that's extraordinary to me about this film is Quincy Jones' music.
This isn't a gritty movie like some of the other ones, this is a caper movie. The thing I love about this film, apart from the stunt driving, is just how fun it looks and feels. It's such a product of the swinging 60s coming out during a real boom time for London, when it was the cultural epicentre of the world at the time. I especially loved it because the Minis are red, white and blue.
Sometimes when you see earlier car chases, even in Bond films, it's done with back projection, but Bullitt feels very real and I think that's the reason why it feels so revolutionary at the time.īaby Driver Note: In the same way that Edgar Wright can't help but think about Bullitt when he sees the hills of San Francisco, you'll be hard-pressed to think about any movie other than Baby Driver if you're ever in Atlanta, because this movie tears through that city and lets it appear as itself, unlike most blockbusters that let it double for other cities.Īs a kid, it's probably one of the first car chases I remember seeing in a movie. It was one of the first movies to lock cameras to the cars and shoot the actors for real, for the most part. I just love how pure it is.Īnother interesting thing about it is McQueen seems to be doing most of his own driving. Then the chase explodes and it's an amazing sequence with no score. Because Lalo Schifrin's score, this incredible cue called "Changing Gears" is leading up to the chase kicking off. "Get the soundtrack from Bullitt, so we can play the chase music." And then someone points out that there is no chase music in Bullitt, the music is actually the sound of the engines and the wheels screeching. The other thing I really like about it – and I used to have a bit of dialogue in Baby Driver about this that was cut out of the draft – there was a whole part of scene about somebody playing the chase music from Bullitt.
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