How editing is used in the first car chase in The Man From U.N.C.L.E

The scene starts with Illya's car pulling into frame next to Gaby and Napoleon's car. The camera cuts between three shots very quickly - extreme close ups of Illya, Napoleon and Gaby. Then, chosing to cut away from Gaby and Napoleon, the two characters sharing diologue at this moment, the camera cuts to a tilt of Illya, the object of discussion, from his face to the gun beside him. We then continue to alternating between closeups of Gaby and Napoleon, and then a shot of Illya's hand on the wheel of the car, and Illya's Face. Then, as the two gunshots ring out, we see them first from Illya's window and POV, and in the next split-second, we cut to Napoleon's (the shooter) POV. This illustrates the closeness of the scene and helps the scene feel quite tight.
Just as the gunshot fades away we cut to the outside of the cars, a shot from behind. This, like the gunshots, almost shakes the viewer awake, the scene is no longer close together, like a conversation, it's now pulled about and you know the car chase proper has begun. However, the camera shots are still being cut together very quickly, creating a feeling of speed.
As the camera cuts to a shot of the exterior of the side of the car, it doesn't jump cut to Illya's car behind them, instead the camera pulls out incredibly quickly, then pulls in to Napoleon and Gaby's car, then pulls out and pulls in to Illya's car. This lack of editing creates an interesting affect that would not have been achieved had the editing been there. If the film had cut between Gaby's car, both cars, Illya's car and both cars again, then the viewer would have thought nothing of it, it would have been what they subconsciouly expected. But take away the editing, and you get an altogether different effect.