BULLITT (1968) MOVIE POSTER, AUSTRALIAN ONE SHEET, STEVE MCQUEEN
Size AU One Sheet (27" x 40")
BULLITT (1968) Original Australian One Sheet Movie Poster, Starring Steve McQueen, Robert Vaughn, Jacqueline Bisset and is Directed by Peter Yates is in Very Fine+ condition. Movie Poster and Condition...
BULLITT (1968) Original Australian One Sheet Movie Poster, Starring Steve McQueen, Robert Vaughn, Jacqueline Bisset and is Directed by Peter Yates is in Very Fine+ condition.
Movie Poster and Condition
Condition: This Original Australian One Sheet is presented in Very fine+ condition, Rare, unused, Australian 1 Sheet in Very Fine + condition. One small centre cross fold separation 4-5mm. Minor fold browning on back of couple of folds. Some very minor edge fold bumping and edge wear. Although not a condition issue, just under the left side horizontal centre fold, the paper has creased slightly going through the printing press showing some very faint creasing and colour variation (very hard to see, but have taken a close-up image). If linen backed this could be touched up, but we feel it adds to the authenticity of this original poster. This iconic Steve McQueen poster from 1968 represents one of cinema's most celebrated action thrillers, making it a highly sought-after piece for collectors of classic cinema memorabilia.
Movie Synopsis
Bullitt stands as one of the most influential action thrillers ever made, directed by the talented Peter Yates and starring the legendary Steve McQueen in what many consider his definitive role. Released in 1968, this groundbreaking film follows San Francisco police detective Frank Bullitt, a nonconformist cop who finds himself embroiled in a dangerous conspiracy when a mob witness under his protection is murdered.
The film features an exceptional ensemble cast including Robert Vaughn as the ambitious politician Walter Chalmers, Jacqueline Bisset as Bullitt's girlfriend Cathy, Don Gordon as Detective Delgetti, and Robert Duvall in an early career role as a cab driver. The screenplay, written by Alan R. Trustman and Harry Kleiner, was based on the 1963 crime novel Mute Witness by Robert L. Fish, and it masterfully blends procedural detective work with pulse-pounding action sequences.
What truly sets Bullitt apart from other films of its era is the revolutionary car chase sequence that has become one of the most famous and imitated scenes in cinema history. Filmed over three weeks on the actual streets of San Francisco, the chase required extensive cooperation from city officials and resulted in nearly ten minutes of breathtaking pursuit footage. Steve McQueen, driving a 1968 Ford Mustang GT, chases two hitmen in a 1968 Dodge Charger R/T through San Francisco's steep hills and winding streets at speeds often exceeding 110 miles per hour. The sequence was shot entirely with practical stunt work, without any CGI or special effects, making it all the more impressive and authentic.
The production employed innovative filming techniques for the era, including mounting cameras inside the vehicles to provide driver's point-of-view shots that gave audiences an unprecedented sense of being part of the action. Legendary stunt driver Bill Hickman piloted the villain's Charger, whilst McQueen performed many of his own driving stunts, though professional stunt driver Bud Ekins doubled for some of the more dangerous sequences. The chase was filmed across 30 blocks of public roads, and the technical achievement of coordinating such an elaborate sequence on location set new standards for action filmmaking.
Director Peter Yates approached the film with an emphasis on absolute realism, creating what many critics have described as one of the most authentic police procedurals ever committed to film whilst still maintaining gripping entertainment value. The movie's documentary-style approach to depicting police work, combined with McQueen's effortlessly cool performance, created a new template for the modern action film. McQueen reportedly modelled his character on Zodiac-hunting Detective Dave Toschi, adding another layer of authenticity to his portrayal.
The film's impact on cinema cannot be overstated. Bullitt won the Academy Award for Best Film Editing, with Frank P. Keller's work on the chase sequence being particularly celebrated. The movie's gritty visual style, jazz-influenced score by Lalo Schifrin, and McQueen's understated performance influenced countless action films that followed. The iconic green Mustang driven by Bullitt has become one of the most recognisable vehicles in film history, with the actual car used in filming selling at auction decades later for millions of dollars.
Beyond the spectacular action sequences, Bullitt offers a compelling exploration of institutional corruption, moral ambiguity, and the personal toll of police work. The film's San Francisco setting is used brilliantly, with the city's unique architecture and topography becoming almost a character in itself. From the opening scenes to the climactic airport confrontation, Bullitt maintains a tense, atmospheric quality that keeps viewers engaged throughout its runtime.
To find out more about Bullitt (1968) click here to go to IMDB.com.
Special Notes
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.