Bullitt’s power is thrilling
The Mustang Bullit is Ford’s tribute to one of the best car chases ever filmed. It’s a damn good car too, writes Richard Bosselman.
Bullitt is not a very good movie, but it does have one of the greatest car chases of all time. And it is one that is crucial to the Ford Mustang’s image.
There’s surely a touch of Hollywood to the release timing of ‘‘Limited Edition’’ Mustang Bullitt. The Mustang nameplate holds the record for the fastestselling model in history, yet the latest generation, a white-hot showroom performer when it kicked in, has now started to drop sales pace. Moreso in North America than places revelling in seeing the Pony Car in righthand-drive for the first time. Still, this seems a good time for a quick buck blockbuster.
From my time with it, I’d say if any edition can reprise the ‘‘I want one’’ feeling for Ford’s little pony it has to be this Bullitt.
Being based off the best variant, the V8 manual coupe, is an excellent start; I know the shifter’s ‘‘measured’’ action puts off many, but a ‘‘stick’’ is utterly in keeping with the car’s theme.
The car does a great job in announcing itself. Ford New Zealand only ordered Dark Highland Green, the same colour as Bullitt star Steve McQueen’s ride in the movie. It looks amazing, better than the alternative Black it could also have chosen.
The tribute also includes 19-inch aluminium wheels, reminiscent of the original’s Rostyles, and though it bows to the modern in having navigation, all the usual safety assists and air conditioning, it also sharpens fast road (or track) readiness with semi-active suspension, Recaro seats, red, painted Brembo brakes, and a new induction system, specifically the intake manifold from the Shelby GT350. This doesn’t alter the 5.0-litre’s torque and only elevates power output by just 5kW, but it’s nonetheless quite enough to lift the top speed and, just as crucially, make the engine sound meaner.
The only crime against good taste is perpetrated by a swag of Bullitt emblems. Stakeout discretion was never likely but the largest – on the steering wheel boss and the tail, mimicking where the original model had its fuel filler – are just too much.
Even emblazoned it’s not a given everyone understands why this car exists. I’d always imagined Bullitt would never misfire, yet I met a few from the Mustang’s traditional 50-plus customer base who honestly had forgotten all about the link. Then there was a mate, too young for the era yet a serious film and car buff, who stunned by confessing he’d heard of, but never seen, the movie.
Of course, visually the car has enough of what would, back in McQueen’s day, be called a
‘‘badass’’ ambience to achieve kerbside cool. Yet what makes it really worthy is a factor that, admittedly, comes from left field – the Mustang in latest form has turned into quite a decent driver’s car. Yes, it’s big and wide and a touch hefty. Yet this generation being the first with an independent rear suspension is a huge positive. Beyond that, the Bullitt’s calibre is improved by all sorts of further refinements. You might not want to chase Porsches, but it is good enough to blow apart the perception that American cars are wallowy, ponderous and prone to fall off corners.
Here, control weights and steering in particular impress, the power is thrilling – you tend to ‘‘hit the gas’’ just to hear it roar – and, though the weight and size are never fully disguised, it is a refreshingly honest car, one that makes you feel connected and happy to be alive. I just loved every minute with it. Even when it rained.
You’d expect nothing less from a ‘‘special’’. Yet, on that note, another twist. Even though Ford New Zealand has decided to cap the order to just 50 units – all spoken for, sorry – and says it will deliver no more, in theory it could. Because, from what I can tell, the build plan allows the Flat Rock factory to knock out as many as it wants for as long as it sees fit.
The Bullitt is not perfect – you’ll not be surprised that it drinks hard and, though I don’t doubt the sincerity of the window sticker attesting to the plant being staffed by world class people, that’s not quite a descriptive that sticks when discussing assembly. However, the fuel burn and the occasional trim rattle are not in any way plot spoilers. They’re just . . . well, character.
You wonder, of course, what the man himself would think of it. Being a petrolhead, you’d think Terrence Steven McQueen – who died in 1980, aged 50 from a rare cancer – would have ultimate interest in Shelby’s 2020 GT500. But hey, that’s not likely set for New Zealand screening, so best not dwell.
It’s hard to think of any reason why he wouldn’t also enjoy the Bullitt, nonetheless.
One thing everyone who knew the man, not least some big-name race drivers, tend to testify is that McQueen loved a fast car and knew how to handle one. He intended to do all the driving in the film, but a crash rattled his wife so much she implored director Peter Yates to bring in stunt ace Bud Ekins. McQueen was furious. (Check the interior shots: When McQueen is driving, the rear view mirror shows his face. When Ekins is driving it is up, so his face is hidden).
Final film fact. There were two Mustangs used for the film; one went to the wreckers’ just after shooting was over but the other – even though it was used for the remarkable hill driving stints – is still around and looking good.