La filière française

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).

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.

I remember watching The French Connection for the first time several years ago. I knew people regarded it as an instant classic, so I was expecting to love it. But the power of subjectivity appeared, and it turned out I didn't like it all too much. In discussions with cinema lovers, I was lambasted because people see this as one of the all-time greats. I watched this for a second time recently, and how about that! My opinion changed. While not calling this film an all-time great, I do respect and like it very much. The film fits the definition of a 70's American film. It is dark, gritty, and features some heavy violence. Also, the film happens to be home of one of cinema's greatest car chases. Essentially, the movie is a giant chase but that particular car chase is something else. I'll discuss it more later on in this review.

This Oscar-winning film takes us onto the streets of New York City following two detectives, Jimmy 'Popeye' Doyle (Gene Hackman) and his partner, Buddy Russo (Roy Scheider). Popeye is infamous for taking in street-level drug dealers, and at best his policework can be described as shady. He's violent drunk cop with low ethical standards, and his career is rapidly falling apart. But he seizes his biggest opportunity when he learns of a huge heroin shipment coming from France. Now we have an interesting contrast between Popeye and the heroin smuggler, Alain Charnier (Fernando Rey). I just mentioned Popeye has low moral standards, but he still is a dedicated cop. On the other hand, Charnier is a smooth gentleman that no one can predict he is a criminal. Now the standoff between the two men begins when Popeye does all he can to bring Charnier in.

Now going back to that car chase! It was a wonderfully executed car chase and what I like is that it is all real. There was an actual chase filmed in Brooklyn exactly how you see it on screen. It's crazy too because the chase is about a simple car trying to outrun and outmaneuver a moving train which eventually has a dead conductor at the wheel. So then it turns into a psychologically-crazy man versus machine kind of chase. The chase also proves the recklessness of Popeye. He held no regard for the common people as he had close calls with them during the chase. He was basically using the people for his benefit….in an oddly positive way. Some of the camera techniques are very effective. They filmed in a way where the subjects are actually further away from the cars than shown on screen….which must have been a relief for some of the actors. But yes, this is one of the biggest car chases to have ever been filmed so this film is a must-see just for that.

Speaking of actors, well yes let's talk about the acting. Director William Friedkin famously did not want Gene Hackman in the lead role. Hackman, by 1971 was already a bankable star, but Friedkin did not think so. Luckily, they decided to cast Hackman anyway and it's a good thing they did. Hackman is one of those actors who can do any genre and always gives his best effort. I loved his performance here and his character was perhaps the only three-dimensional character in the film because the film spends so much time on him. But I was won over by Hackman almost right away. The scene where he enters a bar and violently asks everyone to turn out their pockets in the search for drugs-well, I knew I would be in for a treat. I was happy to see his performance win Best Actor at the Academy Awards. Roy Scheider does a solid job as Popeye's partner, but I didn't feel the same way for him as I did for Popeye. There was nothing much to do for him except to act as a backup. Same goes for Fernando Rey. A very solid performance, but his character was also under-utilized.

The French Connection is a violent, fast-paced film. I said in my opening the movie plays like one giant chase, but I liked the frenetic pacing of the movie. My favorite scene is no doubt that car chase, but I loved the smaller scenes especially the ones where Popeye is up to no good. I also loved the actual photography of the film. Sure, the movie is over forty years old but seeing the streets of my favorite city in the world always makes me happy as it brings back some fond memories. The film has a violent nature and it may take you by surprise, but this film is heralded by many as an instant classic. I may not think so, but I did enjoy it very much.

My Grade: B+

I saw this once before, but so long ago that I've remembered truly nothing about it. I also think I was just too young to give it a fair shot in the first place, with too little real appreciation for cinema at that time. It didn't make a big impression on me all those years ago, and having watched thousands of movies since then, I've been overdue to revisit a picture that I plainly recognize is very highly esteemed. Sitting for 'The French connection' with fresh eyes, having watched innumerable flicks of every genre, every era, every style, and every level of quality, I now believe this celebrated 1971 classic is: good. It's good. It is, indeed, a very good film, and it boasts a lot to admire. However, I continue to think that my first impression of so long ago was perhaps not so far off after all. I'm glad for those who get more out of this than I do, but for as much as I do like it, it just doesn't majorly resonate with me.

William Friedkin's direction is tight and focused, lending a certain intensity to even quieter and less dramatic scenes. That intensity is reflected in the performances, for there's a vitality in the acting I can only describe as fervor. It's not unreasonable to say that Gene Hackman especially stands out - with an explosive performance in an explosive role, there's a reason he was singled out for awards - but his co-stars earn much the same praise. I love Don Ellis' original music as it only ever lends sharp tension to the proceedings; it seems to me that his themes are sometimes almost more appropriate for a horror feature than for a crime thriller, which I think really says something about how effective they are. I believe this was smartly and sometimes beautifully shot, a credit to both Friedkin and cinematographer Owen Roizman; from camera movement in action scenes, to how shots are framed in small interior spaces (e.g., lots of car interiors), to shot composition generally, a lot of these 105 minutes is eye-catching on a fundamental level.

All just as much to the point, the stunts and practical effects are outstanding, above all including the premier chase sequence that is unquestionably one of the top highlights of the whole length. For that matter, no few individual scenes are fantastic. From lighting and production design, to the way the writing just throws us viewers into the thick of things, to the last stretch that is full of careful detail, there's a lot to love all throughout and down to the ending. So how is it that with so many odds and ends that are so excellent, this didn't have me sitting upright from start to finish? Why did I actually fall asleep halfway through? At no point do I think this title does anything wrong. Somehow, purely as a matter of personal preference - and not even a conscious one - 'The French connection' just doesn't ring my bell, even as I greatly enjoyed it. It's everything I would hope for out of a crime thriller; for something that has effectively received unanimous, lofty praise since its release, well, that's another matter.

I'm glad I watched this again, and I like it more upon review than what I vaguely recollect from the first time around. Maybe in another twenty years or so I'll check it out again, and maybe I'll come closer to holding the sort of opinion that so many others seem to. Until then, though I'm not about to shout its praises from the rooftops, I'm glad to give this film my solid recommendation. Do watch, and have fun, and may you find it to be the revelation I do not.

'The French Connection' has really stood the test of time. William Friedkin is one American director who has almost been forgotten about, despite making some excellent movies like 'The Birthday Party', 'The Exorcist' and 'Cruising'. 'The French Connection' is his best movie by far, and one of the 1970s best crime movies, which means it's one of the best EVER. The lead actors are first rate, and the script by Ernest Tidyman ('Shaft') is a good one, but Friedkin makes this something special by applying documentary film techniques to this gritty and realistic detective story. 'The French Connection' was groundbreaking in this respect and influenced just about every subsequent cop movie, all the way up to contemporary TV shows like 'NYPD Blue' and the like. Gene Hackman is just terrific as Popeye Doyle. Hackman had been around for about ten years, and impressed many with his supporting role in 'Bonnie And Clyde', but this movie made him a major star. Along with 'The Conversation' and 'Scarecrow' it's still one of his most impressive performances. Roy Scheider was almost a complete unknown prior to this but he's also very good as Popeye's partner Buddy Russo. Scheider went on to some fine work in movies such as 'Jaws', 'Marathon Man', 'Last Embrace', '52 Pick-Up' and 'Naked Lunch', but never quite became the big name star that Hackman did. Bunuel regular Fernando Rey (cast by mistake after a misunderstanding, Friedkin thinking he was hiring a different actor!) and the underrated character actor Tony Lo Bianco, who had recently appeared in the cult classic 'The Honeymoon Killers', lead a fine supporting cast who really add to the movie's success. The exciting car chase sequence in this movie is now legendary, and is arguably the best one ever filmed, but there is so much more to this film than just that. 'The French Connection' is a superb movie, and still better than just about any similar Hollywood crime thriller made in the last few years. Highly recommended!