Police puissance 7

I saw 'Jaws' for the first time aged 7 but a good chunk of why i LOVED that film was Roy Scheider's Brody, I honestly can't imagine that film without him and his "SMILE YOU SON of a B...H"

Back to "The Seven-Up's"

I'd read a little about this film in movie magazines and books over the years but had never ever seen it until yesterday (thanks I have to say to YouTube), had wanted to see it for over 30 years and finally I have done so.

I'm with the majority of reviewers here...

it's gritty, well made with some good performances especially Schnider who with his brown leather jacket makes it his 'Bullitt' there is even a scene in which he removes the cool jacket to reveal a black turtle-neck and holster (a knowing nod to McQueen's classic film perhaps?) I have to admit that the first 40 minutes or so are kinda slow as with many of the 1970's cop thriller's/drama's of the time but stick with it as the pace builds and it gets better and better from this point.

The CAR CHASE is a stand-out as many here have stated (and might be worth the watch for this wonderfully filmed sequence alone) it starts out as a fairly ordinary affair but turns into a terrific pursuit.

Richard Lynch always had the look of a good villain and he is again here.

One of the reasons I'd wanted to see it (apart from Scheider) was I had read it almost played out like an unofficial "French Connection" sequel and it kinda does.

Tony Lo Bianco is terrific as Buddy's (Scheider) friend and he was also in Connection, it could be argued that this is a far better film than that films sequel and I would subscribe to this as the French Connection II was to me very disappointing.

Fans of 1970's Cop Thrillers will find much to enjoy in the second half of this film...the ending is terrific with shades of Blue Thunder's ending, speaking of which that is another terrific Roy Scheider film along with '2010', 'Jaws', 'Jaws II" (yes really, Scheider makes it thanks to Brody and that "I know what a shark looks like up close and I don't intend on going through that hell Again" speech) and "Marathon Man.

Roy was a terrific actor and has left us with some wonderful performances in some wonderful films...God Bless.

Now to track down "Sorcerer" (aka Wages of Fear) another I've never managed to see.

I love the other reviews of this movie. They mirror my attitude. I am a 70's sort of guy, minus disco and "Star Wars" childishness. There was nothing great about this movie, except for a chase scene. That is why it was good, because it was tough, basic and economical. Roy Scheider carried the movie, which was based on the crew, the 7 Ups, that backed up Gene Hackman in the "French Connection". The people in it were believable and average, who burned themselves pouring coffee, showed fear in chase scene and almost lost it after a close call crash.

Maybe it would be easier to tell you what it lacked. There was no fancy weapons, just basic revolvers and crude sawed off shotguns. There was no tough guy philosophizing, ala Tarantino. There was no kung fu or samurai nonsense and no fancy trick shooting either. There was no clever guy who carries out some complicated scheme based on hundreds of things going just the way he planned including everyone else's reactions. The criminals were bad guys but they didn't shoot people for the hell of it. As a matter of fact, there was a body count of just three. something that the average movie these days would pass in the opening credits. It could be a G movie today! No bus load of orphan school children were kidnapped nor were terrorists threatening to kill half of the city. There were no high tech hijinks, nor were the crimes themselves very moving or ingenious, the highest tech thing I saw was a touch tone ATT wall phone. It had no subplots or amusing character developments. Also, no sex or women, except for one mobster's wife who did some screaming as the Buddy our hero had her menaced.

It was some little undertaker who exploited his connections with the local mob and the police to kidnap local mobsters for some easy payoffs. The undertakers. Vito, was played by Tony Lo Bianco who did a great job, as good as Roy Schneider, Buddy the head of 7 Ups cop, whom he informed and exploited. What ever happened to Tony Lo Bianco, he seemed like a Pacino shoe in, good looking and talented? What it did have was a great NYC backdrop to a simple crime story. Locations that were bleak and dehumanizing without being a sociological study. It had a simple plot that involved this kidnapping scheme where one of Buddy's cop got accidentally involved, literally accidentally dragged in then accidentally shot dead. Since Buddy and his 7 ups are a hot dogs unit, both the NYPD Brass and mobsters thought he was involved, since the kidnappers masqueraded as plain clothes cops to lure the mobsters into compliance. Obviously the mobsters figured they had lawyers and rights to protect them from normal police. Even the mobsters were plain, old and ugly, no Godfather royalty or Soprano hipness here.

It is a good basic movie with a standout chase scene between two 70's d Pontiacs. Even the cars were plain and economical, not even a GTO or a Trans Am, like the acting and the story. In the days of Batman uber-hype or "24" levels of intensity doomsday scenarios, this movie reminds us that less is better. It should be shown to movie screen writers and directors as a caveat not to dazzle, amuse then ultimately insult us with stunts, gadgets and clown psychotic behavior galore.

It is now clear that the true golden age of American film was from the mid-60s until just before the release of Star Wars. Before then, there was too much Hays Code-constricted pap. With Star Wars, the green light was lit for most films to be directed at children and morons, a practice which continues to this day. THE SEVEN-UPS, truth be told, contains a couple hackneyed lines of dialogue -- "We can do this the easy way, or we can do it the hard way" is one -- but I'm damned if I can find anything else wrong with it. (In fact, that line may not even have been stale when this film was made.) THE SEVEN-UPS demonstrates all that was right with the best films of the golden age: sparse dialogue, realistic acting, real locations (winter in a dirty New York has never looked better/worse), propulsive stories, and, yes, the best car chase ever filmed. Bill Hickman is the driver Scheider is chasing (you will recognize him from Bullitt), and the structure of the chase is fairly similar to the McQueen one, but I prefer Scheider's facial intensity here, the pacing, the terrific close-ups of the schoolchildren, and the shattering conclusion. (That VW bug going about 2 mph always bothers me in the Bullitt chase.) A stringy, screechy score by Don Ellis sets the perfect mood. THE SEVEN UPS: bleak, grim, action-oriented, grown-up. This is a film that couldn't be made today; there's no "gimmick" for the kiddies or preposterous ending. Thank you, Philip D'Antoni, Roy Scheider and Tony Lo Bianco: for as long as cop films are watched, THE SEVEN-UPS and its 1970s brethren (e.g., THE FRENCH CONNECTION), will set the standard.

In this spin-off from the French Connection Roy Scheider is the leader of an elite team of cops (the titular soft drinks) who target high-profile crooks. New York's gangsters are being held to ransom by extortionists posing as the Seven-Ups and strike back against the cops.

Set against the bleak, imposing backdrop of early 70s New York, a time in which almost every building was decaying and all new architecture was a brutalist, concrete nightmare, the Seven-Ups is every bit as old school as it could possibly be. If you like the cold, paranoid atmosphere of movies like Ronin or the retro-style of Bullitt you'll definitely get a kick out of this.

Aesthetically, the film is horrific, with ugly people and bad fashion all over the place. It's an abomination of bad taste and degradation. But as a simple cop thriller it's got all the right moves. The stand-out car chase at the half-way point is quite impressive and it's a shame that it seems to have been forgotten among the ubiquitous "Best Car Chase" countdowns on TV and on the Internet.

Fans of the French Connection, cop thrillers or overlooked 70s movies that represent an attitude to filmmaking and life long since gone should definitely check it out.

The Seven Ups from a reality standpoint is by far the best produced police drama ever to hit the screen. The story encompasses all the pitfalls and dangers of police undercover work and the alliances between partners as well as the relationships and betrayals of informers. The cast is superb and what made it real and gritty is none of the actors at the time were big stars. The best scene undoubtedly is the ending when Tony Lobianco is pleading with Roy Schieder The music steadily increases and Roy Schieder keeps walking away. The story line is timeless and can be translated every 20 to 25 years in modern remake form. I have been waiting for this movie to be produced on DVD