After rescuing Madeleine from the frigid waters of San Francisco Bay Scottie takes her to his Russian Hill home. The home's exterior scenes were filmed at 900 Lombard Street on the corner of Jones (map), one steep block below the famous 'crooked street'. The interior scenes were filmed on a studio sound stage.
Then ... From inside the house, Hitchcock wanted a window view of Coit Tower - "... because it's a phallic symbol", he said in a later interview.
... and Now, from outside 900 Lombard we see the same view today which now has an unsightly apartment building blocking the distant twin spires of Sts. Peter and Paul church on Washington Square.
Madeleine recovers after a restful sleep (naked, no less!) and as they talk it becomes clear that Scottie is hopelessly besotted.
Then ... Later, she returns to the home to drop off a thank you note for so valiantly saving her life.
After the movie was filmed this special location retained its original character for over half a century (Citysleuth took the matching photo, below, in 2011), but in 2012 the current owner decided enough Vertigophiles had knocked on his door ...
... and Now, so he added a parapet around the roofline, built a wall across the front entrance and plastered over the red brick chimney. Unique to eunuch ... grand to bland. While CitySleuth respects owners' rights, he will silently weep each time he passes by.
Then ... Scottie wasn't in but he shows up while she's there and they chat on the front porch (this closeup was filmed on a set).
... as of 2011, here's a peek at the front door (it was painted red for the filming) before it was walled off. The railing, almost hidden behind the shrubs, is different from the one in the movie.
... in 2011, another look at 900 Lombard before its makeover. This view looks west up the hill towards the crooked street at the top of the block.
The desperate Dancer uses Cindy as a human shield to hold off the police ...
Then ... He pushes her away and tries to jump the gap across the barriers to the adjacent roadway but is felled by a police bullet and drops to the street far below. Insp. Quine and Lt.Guthrie witness his demise as justice is harshly served.
... and Now, the same view (below) is mostly blocked by new buildings such as the Infinity condominiums on the right.
Then ... As the police wrap up, director Siegel's panning camera ends the movie with a fine sweeping vista (below) from the I-480 freeway. At far right Folsom Street runs east towards the Bay with the Bay Bridge beyond. The Ferry Building is at dead center and to its left the skyline is punctuated by the Southern Pacific Building, the conjoined PG&E and Matson Buildings, Angel Island, Coit Tower and at far left, the majestic Shell Building.
... and Now, it's not possible to duplicate the exact view now that the freeway is no longer there but below is the best CitySleuth could do - taken from above First Street on the Bay Bridge's westbound Fremont Street exit ramp, just a half-block away from the movie's location (map). The multiplicity of new buildings obstruct the distant views but you can still see the Shell Building, at 100 Bush Street across Market at the top of First Street (at far left, marked with the arrow), and the Bay Bridge at far right.
... and Now, the recent photo below taken from the newly constructed 60 story One Rincon Hill residential tower vividly illustrates the proliferation of highrise buildings in the Financial District since the movie was made. The I-480 freeway used to run along the dotted line at bottom alongside Folsom Street and the lower arrow points to where the final scene was filmed (CitySleuth's 'Now' photo above was taken from the elevated ramp just above this arrow). Two of the landmarks pointed out in the movie's panorama can be seen in this view - the upper arrow points to the Shell Building and Coit Tower is in the upper right quadrant.
Parry arranges to meet Irene in Paita, a coastal resort in Peru. Set in a natural bay secluded by high cliffs, Paita is a beautiful town with a rich swashbuckling history. Over the centuries conquistadors, pirates and buccaneers have all left their mark there.
But this final scene, pure Hollywood schmaltz with crashing waves and festive music, was most likely filmed in the Warner Brothers studios in Burbank, California. No dialog, just a 'happily ever after' reunion to give everybody the warm and fuzzies as they make their way home from the theater.
Parry anxiously waits at his table alongside a crowded dance floor ...
... He spots Irene (the waves behind him are clearly a rear projection) ...
... and Irene spots Parry ...
... and presumably they live happily ever after!
The thirteen minute car chase is the famous centerpiece of the movie. It starts off in slow cat-and-mouse style, accompanied by a nerve-tingling Lalo Schifrin score, as Bullitt is tailed by two hit men. It then explodes into an all-out high speed frenzy, accompanied only by the snarl of overworked engines, after Bullitt deftly gives them the slip - the hunted becomes the hunter! The route traverses many neighborhoods, jumping from place to place and often doubling back. It begins in Bernal Heights, moves to Potrero Hill then tours North Beach and Russian Hill. It then progresses through the Marina, continues into McLaren Park and concludes south of San Francisco from Daly City through San Bruno Mountain State Park, dramatically culminating in Guadalupe Valley, Brisbane. Professional drivers Bill Hickman (in the Charger) and Loren Janes, Bud Ekins and occasionally Steve McQueen himself (in the Mustang), delivered the audacious stunts.
Go here for an interview with stuntman Loren Janes for an insider’s take on the filming of the chase.
To spare the soles on CitySleuth’s gumshoes these 59 location shots are identified but not presented Then and Now. Go here to see 16 highlights from the chase in Then and Now format.
