In episode seven of our Manhunt series, we traverse a gritty and rebellious San Francisco in Bullitt (1968) alongside an oddly sleek and barren Paris in Le Samouraï (1967).

Bullitt is famous for two reasons: Steve McQueen and the car chase. Like most famous films, its celluloid holds many more layers than its reputation claims. Bullitt was a leap forward for crime thrillers. Its naturalism, meticulousness, and postmodern plot made it a harbinger for the decades to come. There is no Chinatown without Bullit nor Heat. That alone makes it a remarkable and important film. The car chase is maybe the best ever put on screen, so that doesn’t hurt it.

On the other side of the Atlantic, Jean-Pierre Melville’s Le Samouraï takes us into the calculated, Zen-like existence of a contract killer, played with masterful restraint by Alain Delon. Unlike the exposed id of Bullitt, Le Samouraï draws its power from a detached coolness, which deepens as the films reaches its crescendo. The film's manhunt is quietly relentless. The glitz and glamor of Paris and a life of crime are ruthlessly stripped away scene after scene until the isolated hero makes a final existential leap.