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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
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    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

    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.
    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.
    bev1945

    Interesting companion to "Traffic"

    I first saw this movie in 1963 by hassling the cashier into selling me a ticket though I was under 18. I can't remember what I expected, but it was so interesting to me that I came back with a couple of underage friends--and got in again. This is a very sophisticated film not only for its time, but for now. There is no surprise ending or plot twist, but the use of the film-within-a-film allows the characters to relate to the outside world even though all the action takes place within one studio apartment. And what they have to say makes as much sense now as it did then. This is a film that could be re-shot with a minor change of clothing style and would look and sound cutting edge.

    While "Traffic", in its glossy, artfully edited, mainstream way, explores the glossy, mainstream life of at least some drug traffickers, "The Connection", in its gritty, black-and-white, hand-held way, explores the gritty, hand-held life of at least some of the customers.

    I would recommend this film for anyone who is interested in serious exploration of the drug culture. For people who think "Trainspotting" too mainstream--or at least too narrow in approach. "The Connection", too, is narrow, but it helps round out the picture begun by "Traffic" and"Trainspotting".
    8insomnia

    I much preferred the play

    Jack Gelber's play, "The Connection" ran in London not long after its run in New York, with the same cast and same musicians. The film follows the play faithfully: it couldn't really be any other way. I much preferred the play, mainly because of its immediacy and its intimacy as the action unfolds right before your eyes, especially when the 'connection' arrives', and one by one, the players disappear into the bathroom. I don't for one second believe that the actors actually injected themselves, but on stage, the feeling is that they were doing just that. Don't get me wrong, Shirley Clarke's film of Gelber's play is a brilliant testament of how to make a film about a bunch of guys sitting around in one room (most of the time), waiting for their 'connection', without becoming bored or jaded. In fact, the film is on some levels, better than the play. For a start, if you are a fan of jazz and Jackie McLean in particular, you got to see lots close-ups of the band in full flight. Shirley Clarke was/is, one of the many underrated film directors around. If you liked "The Connection" (though 'like' isn't really the correct verb here), her documentary, "Portrait Of Jason" is another gem to seek out.
    9desperateliving

    9/10

    This is a very difficult film, austere and hard, but after about ten minutes you can calibrate yourself to its rhythm, which is slow -- or, not so much slow as not fast, with extremely long takes in a one-room setting. The film, which is about a group of jazz musicians waiting for "the connection" (heroin) in an apartment, is essentially a filmed piece of experimental theater; it's very interesting, I think, and valuable for its honest portrayals of blacks (not all of the characters are black, but those who are are allowed to give equal amounts of monologues to the camera). The film itself, which is a product of the beat culture, is an experiment in subtle documentary satire -- the film is a film that's being made by a documentarian and his camera assistant; the documentarian becomes involved in the "film" himself by interacting with the musicians, trying to get them to act naturally for the camera by saying he's one of them, that he "reads" them. (The film is also a kind of Method film in the sense that the performances are strained and melodramatic -- the main character who owns the apartment has a boil that makes him scream at a few points -- and that everything is about the documentarian retaining emotional truth.) As the documentarian gets involved with the group (and after the connection arrives, with a female religious preacher in toe), the film feels almost like a public service announcement. It's a really fascinating document. 9/10

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    Histoire

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    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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