Imitation is supposedly the greatest form of flattery, although the fact Louis Vuitton famously sue counterfeiters perhaps attests otherwise. In the film world, the word “remake” is one that can often find itself in precarious territory. From Brian de Palma’s Scarface, and 1969’s True Grit, to John Carpenter’s The Thing, many a feature has enjoyed a cinematic rebirth, a fresh take, that from a different perspective can give a movie a new lease of life. While there have been many films that have, by all intents and purposes, outdone their predecessor where remakes, sequels, and spin-offs are concerned, is there a point that we draw a line in the sand and deem certain movies untouchable?
In this day and age, where everything has a price, there is no room for sentimentality, and in the case of Peter Yates’ seminal action flick, Bullitt, the film many credit for being the true life-giver to an entire genre, the seemingly invulnerable piece of filmmaking history is set for a Spielberg reboot, in the form of a spin-off. While, arguably, there is no one better placed to take on such a monumental challenge, is the iconic auteur playing with fire by even attempting to recreate this cinematic sacrament that has become so synonymous with being the pioneer of the car chase?
Spielberg’s Bullitt Spin-Off and What We Know
It was announced last year that Steven Spielberg had signed a deal to helm the new, and original flick that centered around the laconic, action-man cop, Frank Bullitt. While the film isn’t believed to be a remake, with Spielberg adamant that the storyline takes on a completely separate entity, it is set to naturally, draw on large elements of the renowned 1968 picture, sharing the same legendary protagonist.
Initially reported, and then confirmed in November 2022 that Bradley Cooper had closed on a deal to inherit the title of Frank Bullitt and assume the decorated mantle of the no-nonsense, old-school detective. Coming off the back of a series of exceptional performances in the likes of Guillermo Del Toro’s Nightmare Alley, Paul Thomas Anderson’s Licorice Pizza, and 2018’s A Star is Born, the American Hustle actor is in the form of his life, and he’ll need to be to take on a character defined by the scintillating brilliance of Steve McQueen. As Cooper wraps his latest production, Maestro, a Leonard Bernstein biopic, directed and starring The Hangover stalwart, filming for the thus far, nameless Bullitt adjunction is presumably set to commence later this year.
While, unlike Peter Yates who was a comparative filmmaking minnow, Spielberg will undoubtedly benefit from his vast, encyclopedic knowledge, and experience of directing some of the biggest and best movies of all time. The Fabelmans director certainly won’t be overawed by the task at hand, and while it definitely won’t be detrimental to his stellar career if his new film doesn’t sail with gusto, it may tarnish the legacy of an eminent, hugely venerated feature.
Possessing an immensely discernible nous for penning screenplays and guiding blockbusters, it is obvious that Spielberg must have found a specific and effective angle for the Bullitt-inspired project. However, that said, there are some movies that are best left to glow in their evergreen spotlight without the need for further editions or remakes. Bullitt is one such film, now that its days preserved as a sole entity are numbered, what is it about the action thriller that makes it best left as a stand-alone epic?
Bradley Cooper and the Difficulty Attaining Originality
The motorbike-revving, Hilts in 1963’s classic The Great Escape aside, McQueen’s rendition of Frank Bullitt is feasibly his career-defining performance, and unquestionably, one that had his name permanently imprinted on the walls of Hollywood’s Hall of Fame as a true movie star, action hero and deified leading man. McQueen was a man that transcended the silver screen and ventured into the god-like realms of mega-stardom, worshiped for his sex appeal and lionized for being effortlessly cool.
While Cooper is an actor revered for his ambidextrous on-screen talents, both in front of and behind the camera, it’s clear that he is no McQueen. Although Bradley Cooper could unlock a new dimension in the Bullitt arsenal, he faces an arduous, uphill task, for Frank Bullitt is Steve McQueen, and will forever be characterized by the blonde-haired, blue-eyed, wiry, less-is-more legend. Due to the central character being so distinguishable, and expounded by a specific set of characteristics associated with McQueen, it’s going to be difficult for Bradley Cooper to really distance himself from the idea of simply mimicking the Papillon actor.
As one of the best movies ever to be set in the enchanting confines of San Francisco, Bullitt doesn’t just boast a sensational central display, but also one of the very first, and very best car chases in cinematic history. Yet, the rest of Bullitt is equally noteworthy, and debatably, doesn’t receive the commendation it necessarily warrants. Spielberg’s take runs the risk of falling into that “tribute act” status, whereby its USP is merely to evoke audience nostalgia, and to feast on the quips, tricks, and rhetorical foundations of its forebear.