Der Unbestechliche

Great movie. You can feel the 1970-1980 life. And a good guy-bad guy battle, with the comparisons, is not bad actually. The selection of actors is very good to. This non static movie remind me to the earlier movie "The French Connection", with a similitude, but this movie is recorded with the Hollywood modern way. The faces of the actors remind me to that era to. I only miss a revenge to a judge's family, but never happens. This Movie is a great deal for Action-Triller lovers. Love the colors and this sepia effects in some frames. If you love action films of earlier eras, this is a movie for you. Beautiful story, good actors and great landscapes. Recomendable

This is the other half of the story of seventies classic - 'The French Connection. Jean Dujardin ('The Artist') plays Magistrate Pierre Michel who in 1974 gets promoted to deal with organised crime in Marseilles. Gilles Lellouche ('Mea Culpa' and 'Mesrine') plays the drugs uber lord 'Tany' – who rules with an iron fist and any other implement that can come to hand. He runs a crime network that includes night clubs, casinos and restaurants and will do anything to keep what he has and make tons more cash

This is one of those times when crims made so much money that they could buy their way out of trouble – even before they were in it. So inevitably Michel has more than the crooks to do battle with. It follows the story from the mid seventies and into the eighties and it is one helluva ride.

The period detail is excellent, the cars, fashions and the music are all spot one – even the decor. There is violence and plenty of potty mouth goings on, but it is all in context. It is also a stylish film that means that most shots are great to look at as well as being intensely entertaining. This is a film that should get a lot more attention and if you are a stranger to French cinema it may be a good one to start with to see just how well they can make them.

Pierre (Jean Dujardin) is a good French cop we can admire; Tany (Gilles Lellouche) is a drug lord we can like despite his murderous heroin. The Connection, loosely based on incidents surrounding the infamous French Connection, both real and depicted in William Friedkin's 1971 award-winning thriller starring Gene Hackman. If you can separate yourself from the testosterone-fueled business, you will experience a thriller of humane proportions.

Pierre has taken over the magistrate's responsibility for mob activity, and heroin is the big enemy. Writer-director Cedric Jimenez and writer Audrey Diwan expertly navigate between his daily professional activity and after-work family life with a wife and two children. When it's revealed that Pierre had an addictive gambling problem, the audience is appreciative of his weakness but cognizant of his obsessive personality, such as pursuing Tany.

The film also shows mobster Tany in his two worlds of business and family. While the director may too frequently parallel edit the two characters in these roles, he successfully reveals two characters with traits we can understand.

Beyond the inevitable blood, of which there is less than might be expected, is the oft-told tale of highly-driven men who want successful careers and happy family life—those of us who have seen many such thrillers know the balance is impossible. In a way the film draws us into each sphere with responses more sympathetic than judgmental.

The pace of The Connection is frenetic between paralleling the two principles' activities and chronicling the confrontations (I like when the two meet at a remote spot in a low-key, un-macho response for both) many of which are hair-raising heists and busts. Just as often, however, the film slows it down to a daily level that draws in our attention to the little things of life yet keeps the suspense and terror in the background.

As in A Most Violent Year, starring Oscar Isaac about a good but going-bad business man in NYC in the early '80's, so too does The Connection make that lawless time, albeit European, seductive because Dujardin is so compelling while he breaks laws to stop crime. It's ironic and complicated. That's life, and that's Chinatown, Jake.

I watched this movie and was impressed by a solid story line (it is not your average crime movie), the good actors and the attention for detail. As another reviewer wrote, you should really see especially if you want an impression of what a good French movie consists of.

"The Connection" (2014 release from France and Belgium; 135 min. original title "La French") is an action crime drama, "loosely based on real events" we are reminded at the beginning of the movie. Those real events are the role the southern French city of Marseille played in supplying (some might say: overwhelming) the US with hard drugs in the 1970s. As the movie opens, it says "Marseille, 1975", and as we follow a motor scooter, the biker all of the sudden stops, and shoots someone in cold blood in a nearby car. We then get to know Pierre Michel, a magistrate who is just being transferred from Juvenile to Organized Crime. Michel throws himself with gusto into the mob-fighting, and along the way bruises with his colleagues at work too. At this point we're about 15 min. into the movie, but to tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: first, when a movie puts up a disclaimer that says "loosely based" on real events, you can bet your last dollar that the movie departs significantly from what really happened. How is it that "The French Connection", surrounding similar facts from the US perspective, was made in 1971, yet this movie plays out from 1975 into the early 80s? If you set aside historical concerns, this movie does quite well, actually. The story is solid and takes its time to play out. No, there isn't a singular scene as memorable as the car/elevated train chase as in "The French Connection", but there is enough tension in "The Connection" that it kept me interested from start to finish. Second, a major plus is the historical accuracy in the decors and scenery. Right away from the opening scene on the motor scooter, I was marveling at all the 1970s French cars (Renault, Simca, Citroen, you name, they're all there, and plentiful), which I loved growing up in Belgium during that era. Likewise with attention to clothing and such. Third, the movie is technically a French-Belgian co-production, and the Belgian investors required some scenes shot in Belgium. The Krypton night club scenes were shot in Antwerp, Belgium (my original home town), and the prison scenes were shot in Charleroi, Belgium. Fourth, Jean Dujardin has a meaty character and role here, and he gives a fine performance as Magistrate Michel. Last but certainly not least, there is a very nice collection of songs in the movie from that era, both French (Serge Gainsbourg, Mike Brant, Sheila, etc.) and English (Blondie, Velvet Underground, Venus Ganga, Kim Wilde, etc.). It's available on Amazon France.

"The Connection" opened last weekend at my local art house theater here in Cincinnati, and I finally had a chance to see it. The early evening screening where I saw this at was attended so-so, and that's a shame. I found "The Connection" always entertaining, never boring and at times outright riveting. If you are in the mood for a quality foreign movie, or perhaps just curious how "la French" (as the term 'French Connection' was referred to in France) is portrayed by this French interpretation of it, you cannot go wrong with this movie. "The Connection" is HIGHLY RECOMMENDED!