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The movie concerns on Popeye Doyle (Gene Hackman), an unorthodox New York narcotics cop investigating the flow of drug that follows the trail of the French connection . He travels to Marsaille following the foreign connection and tries to track down the eluded evil Alain Charnier (Fernando Rey) , the smuggling ring chief , who escaped from N.Y.C. There , he joins forces to the French gendarmes (Bernard Fresson and Jean Pierre Castaldi , among others) to hunt down the ringleader . Then , Popeye getaways his French escorts and goes himself into action .

The picture is the follow-up to ¨French Connection¨(by William Friedkin) but didn't achieved the same success and was a flop at box office . However , being , nowadays , considered a very good film and highly rated . In the movie there is action , suspense , violence , intrigue and a little bit of humor in charge of Popeye Doyle , as he begins to find himself as a fish out of water in France and particularly on his relationships with the French people . The film develops a certain social critical to the French habits and there's specially a banter to the Police called Gendarmerie . The motion picture has action-packed but in the intervening period when the starring ends up being abducted by Alain Charnier's henchmen , it results to be a little bit boring , with overlong scenes ; besides , quite disagreeable as Popeye is injected heroin . Gene Hackman's interpretation as the rebel and nonconformist Popeye Doyle is top-notch as well as the previous film that's why he gained deservedly an Academy Award . Fernando Rey repeats perfectly his role as the elegant and cunning nasty and the secondary casting formed by French actors are very fine . The picture was stunningly directed by John Frankenheimer. Rating : Very good and well worth watching.

I am Robin Moore, the author of The French Connection. I was paid the film rights for The French Connection, was on the set during the filming and at the Oscars when the award was presented.

When I was writing the French Connection Sonny Grosso and Eddie Eagan came down to Jamaica to my Blue Lagoon. While they were there Barry Sadler and his wife, Lavonia, joined us. Barry and I had written The Ballad of The Green Berets a few years previously.

I enjoyed The French Connection II, however, I spent a lot of time trying to get paid, but never succeeded. Sad. After the French Connection II came out a lawyer in NY got me to sign the rights to The French Connection over to his law firm so I wouldn't be able to get any money from anything that came after The French Connection. We writers are always getting burnt by the film industry!

I last saw Sonny Grosso in NY a couple of years ago. I took the two emergency cops (the ones who raised the flag at The World Trade Centre) to meet Sonny and they gave him a copy of their DVD.

ROBIN MOORE...

Robin Moore...

John Frankenheimer may be the best Director that modern Movie Lovers have never heard of. He was always ahead of His time and never compromising. This Movie is surely uncompromising. It took a well known Best Actor Performance from a Best Picture Winner and the Character, Popeye Doyle, and stripped Him of the already barely likable persona of a tough, one dimensional Cop and laid Him open for all to see. It was not a pretty picture.

Neither is French Connection II. It will have you squirming and the Second Act detox is not for anyone with expectation of a slick Action Movie. This is a gritty, dirty, unpleasant Character Study that is compelling Cinema, but not Viewer Friendly. It was taking that Seventies realism just one step further.

It has enough Action and energy to make it as a Thriller but it never lets you forget the painful pursuit of Doyle's obsession with removing H from the Street and the even deeper pain of removing it from your body. This makes this compelling and completely coarse Cinema that makes you pay the price for your Entertainment. Not the best Box-Office formula but it is the stuff of Artistic Angst.

Review: French Connection II

If ever there was a character who embodied the mantra of "too much is never enough," it's Gene Hackman's Jimmy "Popeye" Doyle in French Connection II. Hackman reprises his role with an intensity that could best be described as equal parts compelling and concerning. His relentless, almost cartoonishly excessive approach to policing makes Dirty Harry look like a yoga instructor. Popeye's antics aren't just rough-and-tumble - they're bulldozer-in-a-china-shop rough. And while this gung-ho style may have paved the way for generations of gritty cop characters, it's hard not to think that Popeye could benefit from either a few anger management sessions or a permanent holiday in a padded cell. His methods make policing in a banana republic look measured by comparison.

The film itself is a curious beast. Unlike the taut, Oscar-winning original, the sequel takes a fragmented approach, peppering the narrative with moments that feel as disconnected as Doyle himself after a few too many drinks. The cold turkey subplot, while ambitious, overstays its welcome - much like a guest who insists on recounting their detox journey in excruciating detail. Yes, it's gripping at times, but also drawn out to the point of exhaustion.

Yet, despite its flaws, there's a certain charm to French Connection II. It reflects the 1970s in all its unfiltered glory: raw, experimental, and unafraid to show its dark underbelly. And let's not forget, this was a sequel - a concept still relatively novel at the time. Its boldness deserves applause, even if its execution occasionally falters.

Ultimately, French Connection II is a reflective, uneven ride through the mind of a cop who might just be too unhinged for his own good. Entertaining? Absolutely. Timeless? Not quite. But it's an enjoyable throwback to a time when sequels were rare, and heroes like Doyle were as flawed as the stories they inhabited.

Jimmy "Popeye" Doyle (Gene Hackman) travels to Marseilles to find Alain Charnier (Fernando Rey), the drug smuggler who eluded him in New York.

Roger Ebert of the Chicago Sun-Times gave the film two and a half out of four stars and said that "if Frankenheimer and his screenplay don't do justice to the character (of Jimmy "Popeye" Doyle), they at least do justice to the genre, and this is better than most of the many cop movies that followed." Is this the classic the original was? Of course not. But you have to give them credit for trying, and not just passing it off as a weak sequel. They kept Hackman, they brought in a big director like Frankenheimer. This was not something just to make a few bucks. And while it may not be the same level of "classic", it still has what most viewers want: some action, some chase scenes... and a devious subplot of a drug cop getting hooked on heroin!

It is no surprise that a sequel to the masterpiece "The French Connection" was commissioned. After all, the 1971 film helped to define a much more realistic kind of Hollywood movie and is in a league of its own. Gene Hackman brought so much depth to the tough cop, Popeye Doyle. In the hands of a lesser actor, the character would have become one-dimensional. Released in 1975, "French Connection 2," is actually very good on its own terms. Naturally, Gene Hackman was brought back and so was Fernando Rey as the drug dealer who eluded capture in the previous film. Aside from actor Ed Lauter, every cast member in this sequel is French apart from Hackman. It made sense to have this 1975 film, seeing as there were a few loose ends from before. Being set and filmed in Marseilles, we see a more vulnerable side to Popeye Doyle. He doesn't know any area of France, he has never been to that particular country before, so his being on alien territory makes him a target in more ways than one. There are some good action scenes which keep the viewer interested but the film suffers from overlength. If the running time had been trimmed by about 15 minutes, then the narrative would have been stronger. This is no fault of the director, John Frankenheimer. He certainly deserves more recognition as he made some very good films. The drug addiction reference makes for rather uncomfortable viewing as we see first hand, Doyle's graphic and disturbing withdrawal symptoms. I can understand why this was included in "French Connection 2," as Fernando Rey is determined to rid himself of this cop who has been a thorn in his side from day 1. He will employ any means necessary to rid himself of his adversary. However, the drug addiction took up too much screen time. Regardless, it is testament to how tough Doyle is as his fighting spirit is still there. Surviving his ordeal, only makes him that more determined to catch his man. The French police with whom Doyle works, view him with a certain degree of suspicion and concern. After all, Doyle's reputation precedes him....... There isn't so much of the humour or camaraderie that is so evident in the previous film but one scene that is quite droll is as follows: when Gene Hackman goes to a bar and he can't make himself understood very well as his French is limited and the barmans English is even worse! Then after a few drinks together, they merrily walk the streets of Marseilles after the bar is closed. That was a good scene. This isn't a classic but worth viewing all the same. There were plans by "20th Century Fox" to produce a third "French Connection" film with Gene Hackman being paired with Richard Pryor as his new partner. It was scheduled for production about 1979. That sounds interesting, a shame it didn't happen.

Shipping Jimmy "Popeye" Doyle across the Atlantic to France, where he meets up with political exile director John Frankenheimer, does give this freestanding sequel to The French Connection a certain autonomy, even if the filmmakers ultimately end up sacrificing suspense and urgency along the way. The plot again revolves around heroin-smuggling led by drug kingpin Alain Charnier (Fernando Rey), but this picture only really comes alive and starts feeling authentic once it delves into Doyle's budding heroin addiction following a kidnapping. The film's best scene has Gene Hackman firing on all cylinders - drunk and in heroin-withdrawal, he alternately lashes out on and leans on his French colleague Henri Barthélémy (Bernard Fresson), and there's a riveting authenticity to Hackman's work in this and contiguous segments. And it certainly makes "Popeye" and also the film's rather predictable finale more relevant in the process.

One of the finest films ever made. Some say not as good as the first; some also say a good movie, but an unnecessary remake; I say it is even better than the first (that is saying A LOT) and completely necessary.

The first 'The French Connection' was a classic of its time; completely deserving of its many awards; and masterfully directed demonstrating both the typical life of NYC Narcotics cops and the many losses which come with the war on drugs, ultimately questioning the utility of the war at all. It was much more 'story-telling' based and much slower than its sequel 'French Connection II.' In this movie, Gene Hackman excels even further, and the move shifts from an excellent telling of a non fiction story to a dark, gritty character study of our anti hero 'Popeye.'

In a sense, the sequel is necessary because it completes the character development of Popeye and it shows how much he is willing to lose in his desperate pursuit of Charnier. The fiction element of the sequel allowed for the opportunity to make it conclude in style and the movie was otherwise well balanced as either entertaining or difficult to watch at times due to its graphic depiction of drug use, which is a balance very difficult to strike effectively.

The chemistry between Popeye and the French detective was wonderful. The acting is super superb. The movie is essentially flawless, and it adds so much to the first movie by the very nature of engaging in an in depth study of Popeye. It is one of the best crime dramas ever made, and it is disappointing to see that it has not received as much attention by awards critics or the public in general.

Maybe it is too difficult to watch for some, or maybe it is too 'different' to its predecessor and it causes too much dismay. However, for me, it was completely unique, and executed with perfection, and could not have been a better fit to a fiction ending to a non fiction story! In my opinion, 'The French Connection' and 'French Connection II' together, as one, make for one of the most memorable Hollywoodised detective films of all time. No matter how much time passes or how old it gets, they will always be remembered as classics, each for their own reasons, for me.

It's not very often that a sequel snags a filmmaker even more accomplished than the original director, but John Frankenheimer's gritty touch was just what 'French Connection II (1975)' needed. William Friedkin's 'The French Connection (1971)' was itself gritty, tense and exciting, spinning a true-life police procedural into a harrowing exploration of obsession and corruption. Frankenheimer, in the same vein as 'The Manchurian Candidate (1962),' occasionally infuses his film's stark realism with surreal, hallucinatory elements, perfect for depicting the heroin-fuelled stupor that "Popeye" Doyle (Gene Hackman) is ruthlessly forced to endure. The sequel offers a fictional extension of the original film's true events, and sees Detective Doyle following the trail of drug-lord Charnier (Fernando Rey) onto the unfamiliar and unsympathetic streets of Marseilles, France. With the reluctant assistance of local cop Barthélémy (Bernard Fresson), Doyle uncertainly strolls the dirty streets, out of his element in this foreign metropolis, and perpetually hampered by cultural and language differences.

Gene Hackman won an Oscar for his first turn as "Popeye" Doyle, and here he probably deserved another one. His efforts continually frustrated by international bureaucracy and local hostility, Detective Doyle broils with aggression and resentment, a distinctly unlikable but engrossing personality. In one particularly excruciating sequence, as Doyle attempts to kick a heroin addiction cold-turkey, Hackman's performance is a masterclass – pitiful, riveting and painful. 'French Connection II' concludes with an exciting police raid and foot-chase, shot in a realistic style that no doubt influenced successors like Ridley Scott. Doyle's final pursuit of Charnier across the busy streets of Marseilles is enthralling, not least because Hackman himself appears to give it his all, having reportedly neglected to alert Frankenheimer of a chronic knee ailment. In a medium where heroes apparently possess boundless energy, I can't recall a more exhausted and beaten-looking chase participant since Kurosawa's 'Stray Dog (1949).'

I actually saw this one before seeing the first. Now that I've seen both several times, I must admit that rarely have I seen a better follow up. Gene Hackman is brilliant in this cat and mouse chase in the french town of Marseilles. Especially his acting in the cold turkey scenes are just amazing. It's a sad fact that they don't do these types of movies anymore. Today it's all about overloading your senses, thinking that more is always better. This is a masterpiece in sparingly used soundeffects, music and cinematography. If you've seen the first one, make sure to see this one. At all cost.

"French Connection II" makes a huge mistake right away by taking Popeye Doyle out of his native New York and placing him in France. In New York Popeye was king of the streets. Remember that terrific scene in the original when Popeye walked into the bar loaded with African Americans and took total control? Alas there is none of that to be found in this sequel which, like most sequels, is totally unnecessary. Popeye acts like a goofy tourist while in France even down to wearing a silly hat. Where is the Popeye we know and love? He IS alive and well and when that Popeye shows up the screen comes to life. Unfortunately the film gets bogged down in a slow moving middle act which has Popeye captured and slowly turned into a heroin addict. And when I say slowly I mean slowly. It takes forever for this portion of the picture to conclude as it says the same thing over and over. Our interest in Hackman and the character keep us watching but it gets old fast. The conclusion, however, is a knockout as Hackman begins a foot chase to capture the elusive Frenchman. This scene alone is worth the time with a final shot that is terrific. Hopefully you will have stayed with this long, sometimes tedious film to get to that point.

On February 18th of 2025, the mighty actor Gene Hackman passed away. I have a tradition to pay tribute to a deceased cinema deity by watching/reviewing one or two of their lesser known (but hopefully worthwhile) movies. For Gene Hackman, however, I want to expand the tribute. He was such an indescribably brilliant and versatile actor. Since he's listed in my top 5 of greatest performers of ALL times, he deserves a full month of homage. Rest in peace, Mr. Hackman, and thanks for the many great movies.

It's not on purpose that I go against the stream, but I genuinely think "The French Connection II" is better than the exaggeratedly acclaimed original, and quite possibly Gene Hackman's most underrated effort. The unique strength of the plot is that it plucks Popeye Doyle out of his natural New York habitat and helplessly dumps him - literally - in the streets of Marseille, France. Doyle is still his arrogant, unorthodox, and brutally direct self, but he cannot communicate with anyone, his French counterparts are unimpressed by his methods, and his nemesis - Alain Charnier - has the advantage of knowing every dark alley and abandoned drug hole.

Strong and solid acting shoulders are required to carry a lead role like this, but Hackman succeeds effortlessly! Another Oscar would have been well-deserved, as it's the same character but a totally different range of skills and emotions. Notably the scenes where Doyle suffers the terrors of going cold turkey, after being kidnapped and shot full of heroin for weeks by Charnier's henchmen, result in a handful of powerhouse outings. There's less violent action in the sequel, but the atmosphere is even more raw and anti-mainstream than in Friedkin's original. Deep respect also for director John Frankenheimer and writer Robert Dillon. This movie does not deserve to be so unloved.

The story is set in France, but not the romantic land of famous landmarks, lovely beaches and vineyards but a grubby place, full of gangsters, ineffective police, with rubbish strewn all across the street and a sense of danger and fear on the streets. The opening chase scene is quite predictable if you've ever seen a film before you'll guess what's happening, which is different to what our main character thinks is happening. Some of the fake blood looks pretty bad in this too, far too light and bright and shinny as a lot of fake blood from the 1960s and 70s looked. The film stars Gene Hackman who is sort of a fish out of water, with all these language barriers and even the French police don't trust him.

The film has a lot of handheld camera work, the music is quite dated with a lot of what sounds like trumpets. The film features very long scenes without changing any of the background or characters in it. There's some great practical effects with a fire destroying a building, overall though the film does feel long. The final scene tries to pay off in a big way but again it goes on too long.

New York police detective Jimmy 'Popeye' Doyle (Gene Hackman) arrives in Marseilles, France to track down drug kingpin Alain Charnier (Fernando Rey). Inspector Henri Barthélémy (Bernard Fresson) is dubious of his methods. Henri puts two cops to follow him. He manages to shake his tail. Charnier's goons capture him and turn him into a drug addict.

It is a lot of language barrier which gives the movie an exotic feel. The drug addiction is not my favorite turn. Breaking Popeye down may be an interesting idea but it is more of a temporary stopover. There is lots of gun action. The shootouts are chaotic. There is a chase but nowhere near as exciting as the one in the original. It does end well but that original car chase is an iconic touchstone in cinematic history. Overall, this is a fair crime drama.

You find yourself arriving in Marseille, intent on hunting down drug lord Charnier, with little help from Barthélémy, the French officer assignee, you behave like a small child at nursery. After throwing several teddies out the pram, you find yourself trapped in a strange program, that starts addiction and reliance, that negates all your defiance, and puts you into somewhat of a jam.

While the first encounter with Popeye Doyle in the 1971 film effectively transports you to the streets of New York and the world of the narcotics police, there is just no way that the behaviour and language by Doyle, as he alienates, antagonises and irritates the French authorities with such great aplomb is believable - not then and not know, and neither is the reaction he receives. That aside, it's a pretty average movie that pales into insignificance when compared to the original.