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Connection

Titre original : The Connection
  • 1961
  • Not Rated
  • 1h 50min
NOTE IMDb
7,0/10
1,1 k
MA NOTE
Connection (1961)
Drame

Ajouter une intrigue dans votre langueMen sent their own way await heroin in Leach's apartment.Men sent their own way await heroin in Leach's apartment.Men sent their own way await heroin in Leach's apartment.

  • Réalisation
    • Shirley Clarke
  • Scénario
    • Jack Gelber
  • Casting principal
    • William Redfield
    • Warren Finnerty
    • Garry Goodrow
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,0/10
    1,1 k
    MA NOTE
    • Réalisation
      • Shirley Clarke
    • Scénario
      • Jack Gelber
    • Casting principal
      • William Redfield
      • Warren Finnerty
      • Garry Goodrow
    • 20avis d'utilisateurs
    • 41avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
  • Photos11

    Voir l'affiche
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    + 6
    Voir l'affiche

    Rôles principaux13

    Modifier
    William Redfield
    William Redfield
    • Jim Dunn
    Warren Finnerty
    Warren Finnerty
    • Leach
    Garry Goodrow
    • Ernie
    Jerome Raphael
    • Solly
    • (as Jerome Raphel)
    Jim Anderson
    • Sam
    • (as James Anderson)
    Carl Lee
    • Cowboy
    Barbara Winchester
    • Sister Salvation
    Henry Proach
    • Harry
    Roscoe Lee Browne
    Roscoe Lee Browne
    • J.J. Burden
    • (as Roscoe Browne)
    Freddie Redd
    • Pianist
    Jackie McLean
    Jackie McLean
    • Saxophonist
    Larry Richie
    • Drummer
    Michael Mattos
    • Bassist
    • Réalisation
      • Shirley Clarke
    • Scénario
      • Jack Gelber
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs20

    7,01.1K
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    10

    Avis à la une

    6AlsExGal

    Interesting as the grandfather of the mockumentary genre

    This is an arthouse drama about a group of heroin addicts hanging around an apartment in Harlem, waiting for their connection to arrive with the day's fix. The characters monologize about their pathetic lives, while a few of them play jazz music. The film is presented as a documentary being filmed by a director (William Redfield) and his cameraman (Roscoe Lee Browne, in his debut). Featuring Warren Finnerty, Jerome Raphael, Jim Anderson, Barbara Winchester, Henry Proach, and Carl Lee. Shirley Clarke directed this film version of a play which structurally resembles the later mockumentary genre, only without the humor. The subject matter and the presentation ensure that this will have little appeal outside of the arthouse crowd, as most audiences will find this tedious, self-indulgent and of minimal entertainment. I applaud the effort and the intent, but the end product isn't something I'd want to revisit.
    7SnoopyStyle

    faux documentary of its day

    The opening text states that documentary filmmaker Jim Dunn gave all the footage to J. J. Burden who claims responsibility for putting this film together. Rather quickly, an experienced modern film watcher can pick out the obvious clues that this is a play rather than a documentary. The actors are talking too well and clearly. They are professional actors doing lines from a script, not lines lines. They don't look bad enough. Some of the actors have good hair. The black guys probably didn't trim for a week. That's not junkie enough. Then, there is the room itself. It looks like a stage. Look out windows. The fake backdrop is right there. The big giveaway is that the lighting is too good. The audience can see everything. Finally, the traditional closing credits tell the story. Then I consider the era and maybe the closing credits weren't there. Back then, the audience was probably not looking for the found footage genre. They could be fooled. Of course, Fargo still got people in the 90's although they didn't claim that it was a documentary. Looking at this like a stage play. I can see this off-Broadway. It could be edgy enough to get some attention. Like I said, the actors are solid professionals. This may be experimental back in the day, but it is well-made.
    ebh

    A film way before its time

    And what a stupid comment by a previous viewer. "Are all jazz musicians heroin attacks?" C'mon, there isn't a trend here, and perhaps you don't like jazz because you have no taste in music. Anyway, Shirley Clarke's cinema verite'style is put to the test , as we witness some sleazed-out New Yorkers in their subterranean dwelling, as they await their heroin "connection" -the mysterious Cowboy, played by Clarke's real-life lover, Carl Lee.
    adverts

    Dated, stagey but still good

    I don't know why anyone would call this realistic. It looks and feels like a play...the "acting", the overblown dialogue (almost Odets-like), etc. And unless you were a junkie in 1961, how would you know if it's realistic? And Sister Salvation? How could that possibly be real?! Noone is that clueless.

    It's obviously dated for many reasons....the "lingo", the lack of serious profanity, the odd discussion of homosexuality.

    Still, the film hooks you in...and I'm not exactly sure why. I guess it never really slows down. The camera tricks are cool, the band is great, some good dialogue. And the acting and characters are interesting, if not realistic.

    Worth seeing...
    tedg

    Cowboys

    Regular readers of my comments know I study folding, and I suggest that it is a deep concern for many filmmakers going back many decades. Most of my viewing these days comes from reader suggestions.

    This is one, and very interesting. Group it with "The Saragossa Manuscript" as an early experiment, probably influential. Crude and obvious, but of historical interest.

    I will describe it because it is hard to find.

    Ostensibly it is a documentary drama, filmed of then contemporary jazz musicians (man, dig?) in a seedy apartment. They are there for their pooled money to turn into a pooled high, then pooled music. The thing is framed by a device: the film is made by two people, the director and a photographer. During the film, the director has his first hit of heroin, and presumably succumbs to it thereafter. The movie starts with a statement by the photographer that the director has abandoned the project and he (the photographer) has assembled it for us.

    In what we call the real world, this is a play about this film-making. So to begin, it is a film about a play (a very obvious play) about a film about a "real" drama. A theory of theater at the time was that such abstraction and acknowledgment of the medium would allow the form of the reality to shine through.

    It is the theatrical equivalent of an architectural notion that you can see in the Paris Museum called Pompidou, where all the structure is more than exposed, exposed in a way so obvious it is supposed to be invisible.

    You may buy this. I certainly did when I was an architect in this era until I actually designed a building using it.

    The difficulties of making this work are enormous.

    You can see those problems here. Cowboy is the agent who brings the high. He arrives in pristine white, an articulate black man who used to be a musician and now is a savior. He brings an old woman, a salvation army warrior from 70 years earlier, incidentally 70 years old and worried about her burial.

    For this, you need extremely clean images, touchstone dialog (where you jump from pad to pad without muddying yourself), and actors who understand all the folds and can inhabit them all.

    This has none of that. These are street performers after the manner of "The Living Theater" which eschewed just the kind of thinking this project demands.

    What we end up with is a bunch of actors with empty lives without layers who give us a layered story about a bunch of musicians with empty lives because they left layers behind.

    You'll probably want to watch "Hurly Burly" for something like this done well, or this for historical interest.

    Ted's Evaluation -- 2 of 3: Has some interesting elements.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      This film was held up for release after the Board of Regents of the Motion Picture Division of New York State's Dept. of Education viewed the film and refused to grant it a license to be commercially shown. This was mostly due to the repeated use (seven times) of a four-letter word that rhymes with "hit" and is used as a slang synonym for heroin. The film was judged obscene but opened without a license anyway at the D.W. Griffith Theater on October 3, 1962, only to receive several bad reviews from the major N.Y. film critics. Director Shirley Clarke sued and a month later, the highest court in the state reversed the decision of the Board of Regents. However, the reputation of the film was already damaged and to this day, it has never recouped its original $167,000 budget.
    • Citations

      Cowboy: Man, I believe anything that's illegal is illegal because it makes more money for more people that way.

    • Connexions
      Featured in Cinéastes de notre temps: "Rome brûle" (Portrait de Shirley Clarke) (1970)

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    FAQ1

    • Where Can I Find This?

    Détails

    Modifier
    • Date de sortie
      • 11 décembre 1996 (France)
    • Pays d’origine
      • États-Unis
    • Site officiel
      • Full movie
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • The Connection
    • Lieux de tournage
      • Ville de New York, New York, États-Unis
    • Sociétés de production
      • The Connection Company
      • Allen-Hodgdon Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 167 000 $US (estimé)
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 50min(110 min)
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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