La French

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

In the late 1960s and early 1970s drugs were flowing from Marseille to New York in a sophisticated and sustained operation. The Americans made two movies about the racket: "The French Connection" (1971) set in New York and "The French Connection II" (1975) located in Marseiiles, in both cases with Gene Hackman famously playing the police crime-buster. French cinema too has had two cracks at telling the story: first with "The Judge" (1984) and then with "The Connection" ("La French" in French) in 2014.

In the French films, the hero is not a policeman but a magistrate, in "The Connection" played by played by Jean Dujardin, best known outside France for his performance in the silent film "The Artist". The role of the chief criminal is taken by Gilles Lelouche. There is a short scene where the two meet alone which is reminiscent of the cafe scene between Al Pacino and Robert de Niro in "Heat". "The Connection" is not one of the the classics like "The French Connection" and "Heat" but it is a stylish, if clichéd, thriller with hand-held camera-work and atmospheric soundtrack adding to the impact.

The must use adjectives are thrilling and mind blowing. Seriously, the motion picture directed and written by Cédric Jimenez was emotionally heavy. The movie was inspired by true events set in the 1970s. It was about a Neapolitan Mafia Boss Tanny Zampa who ran a French extortion gang in Marseille, France. The Kingpin and his mob later exploded into 'The Connection'. It meant heroin purchased from Turkey being flood into New York by the French Mafia. What stood in their way was dedicated detective Pierre Michel who raged bloody war against their money laundering Empire.

In addition, this action packed Noir was set in Marseille, France. I loved how the opening scene exposed a landscape filled with historical buildings, palm trees, straight roads and the sea that reflected blue from the sky. The vibrating and aggressive sound from the motorbike gave the picture a dramatic sound. Expressive music which featured a woman singing her heart out gave a lovely mood. The song was Jerome sang by Lykke Li. Bang! Bang! Bullets flashed at a car driver on the streets. Hit men on motorbike were like characters from a western movie shooting down their victim. The act created a contrast from beautiful to horrendous.

What is more, the tense violence gave the film justice. It empathised the horrors of the French Mafia who imported tons of heroin from Turkey to France and New York City. The pace was very fast. It demonstrated how society was corrupt by dangerous mobsters who rhymed with monsters. The viciousness contained scenes of Zampa and his henchmen killing those who did not pay up protection rackets. The shootings would be extremely loud and bloody. Graphic tortures was like a rakish rhythm in the content. It showed how evil bloodbaths were. There are media reports of President Nixon declaring war against drugs. This showed what impact on drug affairs did on lives.

Moreover, Tanny Zampa was like a black and white painting. He loved his family and destroyed his enemies. He owned a fabulous club in Marseille. The dedicated detective Pierre Michel was hungry to bring an end to 'The Connection'. Pierre went to the extent in taking the law into his own hands to expose his patriotic nature. The two main contrasting characters had their glorious rise and tragic downfalls.

To add, a scene which I also liked the most was when Tanny and his thugs interrogated their extortion victim. The sufferer was strapped to a chair. He wore his fabulous tuxedo. The room had silver walls. The scene played classic disco music which empathised disturbing psychology on mobsters killing legit people who did not pay up protection rackets. A gunned down casino owner. Left to bleed in a car park in broad day light. Tanny and his boys walked off like it just was business nothing personal.

To carry on, the visualisation had some glimpse shots, fast forwarding and an expression in chiaroscuro. The film looked like a production from the 1970s. This helped empathise the time period. Laurent Tangy as the cinematographer expressed the contrast between light and shade. It resulted to the picture having a dark and light atmosphere. From urban to a reveal location, the lighting exposed the two different worlds. In Tanny's nightclub the cinematographer strengthen the shade and exaggerated the lighting. The high saturation was the icing on the cake. The camera shots in the French picture had long distance shots, up right footages and birds eye view. This implied the importance of society.

As a continuation, soundtrack included an orchestra, disco music and electronic. The sound effects in the film created a tense tone. It backed up how 'The Connection' had a negative effect on Marseille and New York. The emotionally heavy orchestra which was played in the end implied the tragic downfalls of the two opposing characters. Detective Pierre was shot and left to death in his neighbourhood. Crime Boss Tanny was finally arrested as his Empire crumbled.

For the story itself, all I can say is that it was about time to have a cinematic film about the rise and the downfall of the French heroin connection based in the 1970s. Watching the same old Sopranos could not compete with this breed of Gangsterism due to the fact that 'The Connection' focused on the sociological theme. The content was unique, because I was getting bored watching the same old Italian wise guys like 'Goodfellas', 'Mean Streets' and 'The Sopranos.' Those three titles do not go into political depth. Cinema needs more genres which are so different.

All in all, I give this film a solid……………….. 8/10.

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.

Great settings, acting, actors, soundtrack and camerawork. Complications of plot at times (who's who?) didn't hide inevitably of ending. Also unfamiliar with French justice and political systems. But well worth the watch - I couldn't leave it before the end - especially for the two lead actors. Best French movie to come along for a while. Also called The Connection. (viewed 8/16)