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Bullitt 1968 DVDrip_minstrel
Cast
Steve McQueen ... Bullitt
Jacqueline Bisset... Cathy
Robert Vaughn ... Chalmers
Don Gordon ... Delgetti
Simon Oakland ... Captain Bennet
Norman Fell ... Baker
Robert Duvall ... Weissberg
Georg Stanford Brown... Dr. Willard
Justin Tarr ... Eddy
Carl Reindel ... Stanton
Felice Orlandi ... Renick
Vic Tayback ... Pete Ross (as Victor Tayback)
Robert Lipton ... 1st Aide
Ed Peck ... Westcott
Pat Renella ... John Ross
The late 1960s saw two classic, hard-boiled thrillers set in San Fransico; John Boorman's stylised 'Point Blank', and Peter Yates' 'Bullitt'. Calling your hero Bullitt might seem an unsubtle way to emphasise his macho qualities, but in fact Steve MacQueen plays him as a quiet man, not some wise-talking maverick: he does what he has to do, but takes no pleasure in his actions; and survives the roughness of his work not by becoming a monster, but simply by becoming a little less human. It's a believable portrait, and the film as a whole has a procedural feel: there are action scenes, but these are kept in their place in the overall design.
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. William Friedkin's brilliant 'The French Connection', made a short while afterwards, would appear to owe it a debt.
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The Getaway 1972 DvDrip_minstrel
Cast
Steve McQueen ... Doc McCoy
Ali MacGraw ... Carol McCoy
Ben Johnson ... Jack Beynon
Sally Struthers ... Fran Clinton
Al Lettieri ... Rudy Butler
Slim Pickens ... Cowboy
Richard Bright ... The Thief
Jack Dodson ... Harold Clinton
Dub Taylor ... Laughlin
Bo Hopkins ... Frank Jackson
Roy Jenson ... Cully
Not one of S. Peckinpah's masterworks but one hell of a crime thriller. Steve McQueen is perfect as the cool, professional Doc and although Ali MacGraw (Steve's next wife) is breezily gorgeous she doesn't have the chops to make her character (Carol) too believable. Al Lettieri is creepier than he was in THE GODFATHER and Richard Bright (THE GODFATHER as well) has a nice bit as a small-timer. Ben Johnson has credibility as does Dub Taylor later. Throw in authentic Western icon Slim Pickens and you have a nice Southwest crime drama.
A 7 out of 10. Best performance = Steve McQueen. He's very good with weapons and cars as he earlier proved. THE WILD BUNCH and STRAW DOGS are Peckinpah's masterpieces, but this is well worth a trip to the movies! Junior Bonner (a totally different type of sensibility) is also a fine film.
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[center]The Cincinnati Kid 1965 DvDrip_minstrel
Cast
Steve McQueen ... The Cincinnati Kid
Ann-Margret ... Melba
Karl Malden ... Shooter
Tuesday Weld ... Christian
Edward G. Robinson... Lancey Howard
Joan Blondell ... Lady Fingers
Rip Torn ... Slade
Jack Weston ... Pig
Cab Calloway ... Yeller
Jeff Corey ... Hoban
Theodore Marcuse ... Felix (as Theo Marcuse)
Milton Selzer ... Sokal
Karl Swenson ... Mr. Rudd
Émile Genest ... Cajun (as Emile Genest)
Ron Soble ... Danny
This fine film chronicles a tense, dramatic marathon game of poker between a rising young star and a cagey old pro. Steve McQueen is the cool, detached hot shot and Edward G. Robinson displays nerves of steel, razor sharp instincts and a veteran's poise as the two players probe each other, searching for openings and seeking any advantage, however subtle. Both men are excellent and have good support from a solid cast of veteran actors. Ann-Margret is nice as a siren who just can't sit still when she and the Cincinnati Kid are in the same room. She slinks her way through her interpretation as the sluttish wife of a compromised card dealer who figures prominently in the grand game. The romantic angle between the Cincinnati Kid and his girlfriend doesn't ring true, although Tuesday Weld is pleasing as a vulnerable, love-struck girl. The cinematography shows a grim, gray, seedy side of New Orleans that brings realism to the story. The music has a jazzy score and nice vocals by Ray Charles.
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