French Connection - Brennpunkt Brooklyn

Following a mix of hunches and leads, two tough NYPD narcotic cops set up surveillance on a candy store in the belief that the owners of the store are somehow involved in drug dealing on the side. Putting the squeeze on the store leads them to a couple of new people, specifically a smooth French criminal called Alain Charnier who is trying to orchestrate a massive drug sale in New York. The pressure looks like bringing success to Detectives Doyle and Russo, but Charnier's organisation has tight time targets and decides to take action to remove the heat from the job.

Sometimes with "classic" films it is easy to get sucked into the hype and reputation and just love it before you have even seen it; for that reason, although I have seen it several times, I decided to give it a fresh viewing before I dared try to write my thoughts on it – it finished ten minutes ago, so my memory is still fresh. Although I feel that it has remained well known thanks to "that" car chase, I think that recalling only that scene is to do a disservice to a film that is an enjoyable thriller in a tough, typically 1970's mould. The plot sees a minor hunch turn into a bigger police job and it would be easy to pick holes in some of the logic within it, it still grips and provides a nicely gritty cop thriller. It isn't as clever or as original as those coming to it on the back of its reputation might expect it to be, as it does pretty much what the rest of the genre does. Now I'll be fair and acknowledge that I don't know whether this film was the first to create this type of film or if it was just part of the development of them, but certainly watching it now it does blend in with others in the same genre.

The direction makes it better than the material as Friedkin injects real tension and grit into the story keeping it exciting while also being rather sombre and low-key. The acting also makes it and, rightly, Hackman carries much of the film with a great performance as Doyle. Grizzled, bigoted and apparently heartless, it is interesting to contrast his character with Rey's Charnier, who is much cooler and effective. Scheider is, as always, reliable in support and he gives a good performance throughout while the rest of the cast play their roles well enough. There is no doubt though, that Hackman is the heart of the film and his performance reflects this and makes the audience emotionally involved with his story from the very start.

Overall this is a great 1970's cop thriller with all that comes with that genre. It is enjoyably gritty and fast paced with "heroes" of questionable morality and smooth criminals. People will always hark on about that car chase and, yes, it is good, but there is more to this film and it stands out as one of the best of the genre.

This is an intense, unremitting, intelligent and incredibly fast-paced film which blends action, cinematic realism, art and humor into a masterwork of hard-edged crime drama. But to categorize this film as drama, suspense or action really does violence to it. This is just a great film, and it doesn't fit comfortably into any category with which I am aware.

Don't look here for any sense of fantasy-justice or n'er-do-wrong comic book heroism. Look here instead for gut wrenching nihilism, frustration with the unfairness of criminal justice in the hands of bureaucracy, and a solid, plot-driven story about a couple of cops who are just trying to do their jobs as best they can.

And by all means, don't watch this film if you aren't fully awake and willing to be taken down the electric, ambiguous, and compelling roads it leads to. If you watch this film with any part of your brain turned off you'll end up asking questions like "plot, what plot?" The fact that some people can't find it reflects more on them as film-watchers than it does on this film. This film does not offer passive entertainment like most of the contemporary action market does. It makes you pay attention, though, at times you might not want to.

Hackman and Scheider are incredible, with some of the greatest chemistry I have ever seen between two young actors. They play two hard-ass NYC detectives looking to end the war on drugs more-or-less permanently by taking down an international conspiracy which they have just barely sniffed out. And make no mistake, they, particularly Hackman's "Popeye Doyle" are at war, and treat their jobs as a battlefield. Doyle pursues his quarry with utterly wreckless abandon, endangering the lives of dozens of people along the way. While both men are absolutely terrific, this stands out as one of Hackman's greatest performances, and his Oscar is well-deserved (not something you will see me say often). Backed by a strong supporting cast, and some of the best live-action cinematography of the late 20th century, this film does not allow you to turn away, get popcorn, or even deal with bodily functions for its entire duration.

Considered in the early 70s to be 'shockingly violent', this film does not even reach a tenth the degree of passive violent repulsion of the average Tarantino film, and it relies, instead, on amazing performances, flawless direction, a phenomenal post-modern soundtrack and edgy, tense camera-work. Unlike contemporary action film garbage, it also gives you complex characters who you can care about, but never fully understand. I will cut this review short because I am running out of superlatives. Anybody remotely interested in expanding or just appreciating the artistic breadth and depth of mainstream film needs to see this.

The French Connection is number seventy on the AFI's list of top 100 movies, right before Forrest Gump. But why is it known as such a great film? Why did it win Best Picture at the 1971 Academy Awards? Why was it so important?

The French Connection was made in 1971, starring a then 41-year-old Gene Hackman in the lead, and directed by William Friedkin, who started his directing career with `Alfred Hitchcock Presents' in 1955. The film follows an aging but truculent `bad-boy' police officer Popeye Doyle and his slightly kinder partner (Roy Schneider) in their journey to bust a drug-smuggling ring of French origin. The movie itself is basically one big chase scene, following Popeye on his cat and mouse game of catch the crook.

The film has been classified as both an action and drama movie. Both are right, in their own way. The film at its core is a tense, slow-moving thriller, dramatic in its musical score and over-acted brutality. Scenes are left to their own devices, moving forth indeterminately, in a very drama-characteristic fashion. However, there's plenty of chasing and violence to satisfy an `action' classification. This action, however, is played so that it's less about the adrenaline rush (so common in today's big-budget action flicks), and more about that tense underlying heartbeat. The style of the film then, is a very paced and dingy chase scene. By today's post-Matrix standards, the film is slow. But in its own way, it's subterrainiously charged.

The camera is mastered by cinematographer Owen Roizman, whose previous film, Stop, is essentially unheard of, and who went on to make The Exorcist with Friedkin two years later. Shots are varied. There are handheld shots of the streets, coupled with static medium wide, along with crane shots, along with close-ups and wide shots. And even though the shots are extremely eclectic, one common theme shines through-realism. Every shot composed is just a little bit shaky, a little bit unclean. There's no truly innovative lighting used, simply that yellow coarse light that everything is eternally bathed in. It succeeds in making the movie that much more tangible to the eye. The mood created within is one of belief. You can believe the movie, because it's shot in such a rugged manner. The car scenes, filmed at night, use the same technique; red and white car lights with a subtlety lit car. It is clear that the film Taxi Driver, made 5 years later, contained car shots obviously influenced by the ones in The French Connection. Furthermore, actors' faces are lit without any superfluous shine or luster-they are simply real human faces, and are not hyped up. This influenced cinema in the way that it brings the mood and story above the actors' egos.

The editing, done by Gerald Greenberg, is, in the same manner, very real. Characteristic of films made pre-computer based editing, shots are held for longer periods of time, and not as many cuts are used. The editing is almost unnoticeable, because it seems to pass by so soft, especially during dialog. However, conversely, it cuts much more often (but never frantically) during action sequences, like the bar roust or the car chase under the train tracks. But still, drama is tensed out by holding shots long during action sequences, and it works. But this never comes to fault. The few times when quick cuts are needed, they are used, such as the train crash. In general though, the editing satisfies the mood of the film.

It is said that silence is golden, and in The French Connection, it seems to be just as valuable. While the tense, stringy score (by Don Ellis) is important to the film in some aspects, its not used very often, and instead, director Friedkin employs simple background noise. For instance, most of the scenes in the movie simply work with dialog and city noise. This all goes back to the pre-established mood: realism. The music is used only when it wont get in the way of the framework of the film. So therefore, background noise suffices wonderfully for most action and dialog scenes. Some of the music is setting-based as well, and so, comes from the movie's plot itself, and doesn't break the reality theme. Modern audiences might be surprised by the lack of `action-music', but car chases and fight scenes sans pumping bass are surprisingly welcome, and help the film, as well as add an aire of classiness.

Director William Friedkin is a director who knows what he wants out of a film. For The Exorcist, it is told he violently slapped an actor who wouldn't cry, and, with The French Connection, he establishes his premise, and lets the story tell itself. It is a different style of filmmaking. The French Connection is important to modern cinema not only because it taught modern directors the art of silence and visual suspense, but because it artfully embodies its theme. Its story, rough characters, locales, color, and pace all bleed a very dark, yet very familiar reality; one that has shaped nearly every cop movie since its making. While the film is at times hard to follow, simply because the story is left to its own devices so much (there are 15 minute periods of no dialog), but in the end, it succeeds admirably. While not the best film ever made,

The French Connection is a classic, and worthy of the honors it has received.

In the great tradition of American thrillers , this famous movie concerns ¨Popeye Doyle¨(Gene Hackman) , an unorthodox narcotics undercover police following the Marsella French connection about a smuggling ring connected with a New York crook (Tony LoBianco) . He teams up with cop Buddy Russo, ¨Cloudy¨(Roy Scheider) , following the trail to hunt down the ringleader named Alain Charnier (Fernando Rey) , a suave gentleman but astute baddie , and his hoodlum (Marcel Bozzuffi). The time is just right for an out and out thriller like this . When "Popeye" cuts loose, anything goes! Doyle is bad news - but a good cop. A $32,000,000 chase turns into the American thriller of the year! .There are no rules and no holds barred when Popeye cuts loose!

In this highly rated film there is noisy action , suspense , thrills , violence and being extremely entertaining . Gene Hackman as the rebel and non-conformist Popeye is magnificent , he won a deserved Academy Award . His nemesis , Fernando Rey as the drug smuggler , plays perfectly his role as the cunning and elegant villain . Furthermore , a splendid support cast , such as : Roy Scheider , Tony LoBianco , Marcel Bozuffi , among others . The movie contains one of the best car chases ever shot with another prize for the professional film editor (Greenberg) and one of the most gripping pursuits between Popeye Doyle and Alain Charnier. Aproppiate and realistic cinematography by Owen Roizman , Friedkin's usual cameraman (The Exorcist) and adequate music score by Don Ellis . Interesting screenplay by Ernest Tidyman , an expert writer on thrillers and action movies (Shaft) . This is a great film , professionally directed by William Friedkin and followed by a nice sequel ¨French Connection II¨ by John Frankenheimer and again with Gene Hackman and Fernando Rey. Rating : Above average and well worth seeing , as it is an authentic classic movie .

While the 1960s brought us a slew of anti-heroes that even made their way to police films, predecessors such as BULLIT and MADIGAN are tame compared to this ground-breaking film. While these previous films gave a much bleaker view of police work and corruption, THE FRENCH CONNECTION was unique in the intensity of the sleaze that permeates the film. In most ways, this serves to heighten the realism, though even today some viewers will blanch at the films frequent use of the f-word and the general griminess of the city. Fortunately, in recent trips to the city, I was pleased to see how clean and safe the New York has become, but for the New York City office of tourism, this film must have been a nightmare!! Junkies, garbage, murders and the lowest elements frequent this interpretation of the Big Apple--making it look a bit worm-eaten and squishy!

The lead of the film is Gene Hackman and his quiet partner is Roy Scheider. Hackman's character, in particular, made it hard to differentiate him from the criminals because he played fast and loose with some people's rights and because he was prone to getting drunk and picking up one night stands. This was definitely NOT the cop your daddy would have seen in films in the good old days and I am pretty sure Jack Webb didn't approve of this Popeye Doyle character!!!

Despite the seaminess of the film, it was a great detective film because of its exceptional action sequences that made up for the very mundane nature of the job. Long periods of wire tapping and grunt work were punctuated with some of the most exciting scenes in film history--including what most experts would concede is the best chase scene on film. Additionally, the script and direction made the film quite exciting and gritty--thanks also to improvisations to spice up the cop lingo. In so many ways, this film helped create a new type of police film and led to movies such as SERPICO, THE BLUE KNIGHT and the DIRTY HARRY films. See this film and see where it all began--as this was the first rated-R cop film to win the Oscar for Best Picture and STILL today is a film you don't want to let your kids watch (unless you are an irresponsible idiot).