Sometimes all it takes is one film to ensure a filmmaker a fair shot at immortality.
Peter Yates, the British producer/director who passed away this past weekend at age 82, earned four Oscar nominations over the course of a career that spanned five decades. Even if you don't recognize his name, it's possible you've enjoyed some of his movies:
The Hot Rock![](http://www.assoc-amazon.com/e/ir?t=JoeLeydon@yahoo.com&l=btl&camp=213689&creative=392969&o=1&a=B00008MTW1)
(1972), a lightly likable caper comedy starring Robert Redford, George Segal and Ron Leibman, scripted by William Godlman from a novel by Donald E. Westlake;
The Friends of Eddie Coyle![](http://www.assoc-amazon.com/e/ir?t=JoeLeydon@yahoo.com&l=btl&camp=213689&creative=392969&o=1&a=B001TIQT6G)
(1973), a memorably earthy and gritty Boston crime drama -- starring Robert Mitchum and Peter Boyle -- that has influenced Bean Town
films noir as diverse as
Monument Ave. and
The Town![](http://www.assoc-amazon.com/e/ir?t=JoeLeydon@yahoo.com&l=btl&camp=213689&creative=392969&o=1&a=B002ZG99NG)
;
The Deep![](http://www.assoc-amazon.com/e/ir?t=JoeLeydon@yahoo.com&l=btl&camp=213689&creative=392969&o=1&a=B00441GYSS)
(1977), the guilty-pleasure treasure-hunter adventure best remembered for Nick Nolte's early-career studliness, Robert Shaw's trademark orneriness, and Jacqueline Bisset's spectacular appearance in a wet T-shirt;
The Dresser (1983), the affectionately detailed backstage dramedy that showcased deliciously hammy turns by Albert Finney and Tom Courtney; and
Breaking Away![](http://www.assoc-amazon.com/e/ir?t=JoeLeydon@yahoo.com&l=btl&camp=213689&creative=392969&o=1&a=B0009HLD0K)
(1979) and
Suspect
(1987), two disparate dramas with standout performances by H-Town's very own Dennis Quaid.
But the title that looms largest on Yates' resume is
Bullitt![](http://www.assoc-amazon.com/e/ir?t=JoeLeydon@yahoo.com&l=btl&camp=213689&creative=392969&o=1&a=B0008ENHTE)
, the 1968 thriller in which Steve McQueen established the gold standard for sub-zero-cool maverick cops, and
a thrillingly sustained car chase up and down the streets of San Francisco set the bar for high-speed, slam-bang action sequences. The latter is so indelibly exciting that it's easy to overlook or forget Yates' subtler storytelling touches: Bullitt is so obsessed with his job that little else in his life really matters -- note how he casually stocks up on frozen dinners without bothering to see precisely what he's purchasing -- and such a self-assured professional that he doesn't need to draw his gun until the movie's final minutes. Even if Yates had never made another movie, he'd still merit at least a footnote in pop-culture history for this one.
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