Operação França

'The French Connection' has really stood the test of time. William Friedkin is one American director who has almost been forgotten about, despite making some excellent movies like 'The Birthday Party', 'The Exorcist' and 'Cruising'. 'The French Connection' is his best movie by far, and one of the 1970s best crime movies, which means it's one of the best EVER. The lead actors are first rate, and the script by Ernest Tidyman ('Shaft') is a good one, but Friedkin makes this something special by applying documentary film techniques to this gritty and realistic detective story. 'The French Connection' was groundbreaking in this respect and influenced just about every subsequent cop movie, all the way up to contemporary TV shows like 'NYPD Blue' and the like. Gene Hackman is just terrific as Popeye Doyle. Hackman had been around for about ten years, and impressed many with his supporting role in 'Bonnie And Clyde', but this movie made him a major star. Along with 'The Conversation' and 'Scarecrow' it's still one of his most impressive performances. Roy Scheider was almost a complete unknown prior to this but he's also very good as Popeye's partner Buddy Russo. Scheider went on to some fine work in movies such as 'Jaws', 'Marathon Man', 'Last Embrace', '52 Pick-Up' and 'Naked Lunch', but never quite became the big name star that Hackman did. Bunuel regular Fernando Rey (cast by mistake after a misunderstanding, Friedkin thinking he was hiring a different actor!) and the underrated character actor Tony Lo Bianco, who had recently appeared in the cult classic 'The Honeymoon Killers', lead a fine supporting cast who really add to the movie's success. The exciting car chase sequence in this movie is now legendary, and is arguably the best one ever filmed, but there is so much more to this film than just that. 'The French Connection' is a superb movie, and still better than just about any similar Hollywood crime thriller made in the last few years. Highly recommended!

Following a mix of hunches and leads, two tough NYPD narcotic cops set up surveillance on a candy store in the belief that the owners of the store are somehow involved in drug dealing on the side. Putting the squeeze on the store leads them to a couple of new people, specifically a smooth French criminal called Alain Charnier who is trying to orchestrate a massive drug sale in New York. The pressure looks like bringing success to Detectives Doyle and Russo, but Charnier's organisation has tight time targets and decides to take action to remove the heat from the job.

Sometimes with "classic" films it is easy to get sucked into the hype and reputation and just love it before you have even seen it; for that reason, although I have seen it several times, I decided to give it a fresh viewing before I dared try to write my thoughts on it – it finished ten minutes ago, so my memory is still fresh. Although I feel that it has remained well known thanks to "that" car chase, I think that recalling only that scene is to do a disservice to a film that is an enjoyable thriller in a tough, typically 1970's mould. The plot sees a minor hunch turn into a bigger police job and it would be easy to pick holes in some of the logic within it, it still grips and provides a nicely gritty cop thriller. It isn't as clever or as original as those coming to it on the back of its reputation might expect it to be, as it does pretty much what the rest of the genre does. Now I'll be fair and acknowledge that I don't know whether this film was the first to create this type of film or if it was just part of the development of them, but certainly watching it now it does blend in with others in the same genre.

The direction makes it better than the material as Friedkin injects real tension and grit into the story keeping it exciting while also being rather sombre and low-key. The acting also makes it and, rightly, Hackman carries much of the film with a great performance as Doyle. Grizzled, bigoted and apparently heartless, it is interesting to contrast his character with Rey's Charnier, who is much cooler and effective. Scheider is, as always, reliable in support and he gives a good performance throughout while the rest of the cast play their roles well enough. There is no doubt though, that Hackman is the heart of the film and his performance reflects this and makes the audience emotionally involved with his story from the very start.

Overall this is a great 1970's cop thriller with all that comes with that genre. It is enjoyably gritty and fast paced with "heroes" of questionable morality and smooth criminals. People will always hark on about that car chase and, yes, it is good, but there is more to this film and it stands out as one of the best of the genre.

While the 1960s brought us a slew of anti-heroes that even made their way to police films, predecessors such as BULLIT and MADIGAN are tame compared to this ground-breaking film. While these previous films gave a much bleaker view of police work and corruption, THE FRENCH CONNECTION was unique in the intensity of the sleaze that permeates the film. In most ways, this serves to heighten the realism, though even today some viewers will blanch at the films frequent use of the f-word and the general griminess of the city. Fortunately, in recent trips to the city, I was pleased to see how clean and safe the New York has become, but for the New York City office of tourism, this film must have been a nightmare!! Junkies, garbage, murders and the lowest elements frequent this interpretation of the Big Apple--making it look a bit worm-eaten and squishy!

The lead of the film is Gene Hackman and his quiet partner is Roy Scheider. Hackman's character, in particular, made it hard to differentiate him from the criminals because he played fast and loose with some people's rights and because he was prone to getting drunk and picking up one night stands. This was definitely NOT the cop your daddy would have seen in films in the good old days and I am pretty sure Jack Webb didn't approve of this Popeye Doyle character!!!

Despite the seaminess of the film, it was a great detective film because of its exceptional action sequences that made up for the very mundane nature of the job. Long periods of wire tapping and grunt work were punctuated with some of the most exciting scenes in film history--including what most experts would concede is the best chase scene on film. Additionally, the script and direction made the film quite exciting and gritty--thanks also to improvisations to spice up the cop lingo. In so many ways, this film helped create a new type of police film and led to movies such as SERPICO, THE BLUE KNIGHT and the DIRTY HARRY films. See this film and see where it all began--as this was the first rated-R cop film to win the Oscar for Best Picture and STILL today is a film you don't want to let your kids watch (unless you are an irresponsible idiot).

"The French Connection" is an excellent film in every way imaginable. Gene Hackman (Oscar-winning) stars as a tough New York cop who is obsessed with stopping the flow of heroin into the city from France. Fernando Rey is perfect as the ring-leader of the smuggling. Tough, gritty, and realistic, "The French Connection" is an intense character-study that is never short on suspense or action. The film won five Oscars in 1971, including the Best Picture Oscar and one for William Friedkin's (only 32 at the time) intense direction. In a year that produced "The Last Picture Show" and "A Clockwork Orange", this film's win makes it even more impressive than it was nearly 30 years ago. Excellent. 5 stars out of 5.

This is an intense, unremitting, intelligent and incredibly fast-paced film which blends action, cinematic realism, art and humor into a masterwork of hard-edged crime drama. But to categorize this film as drama, suspense or action really does violence to it. This is just a great film, and it doesn't fit comfortably into any category with which I am aware.

Don't look here for any sense of fantasy-justice or n'er-do-wrong comic book heroism. Look here instead for gut wrenching nihilism, frustration with the unfairness of criminal justice in the hands of bureaucracy, and a solid, plot-driven story about a couple of cops who are just trying to do their jobs as best they can.

And by all means, don't watch this film if you aren't fully awake and willing to be taken down the electric, ambiguous, and compelling roads it leads to. If you watch this film with any part of your brain turned off you'll end up asking questions like "plot, what plot?" The fact that some people can't find it reflects more on them as film-watchers than it does on this film. This film does not offer passive entertainment like most of the contemporary action market does. It makes you pay attention, though, at times you might not want to.

Hackman and Scheider are incredible, with some of the greatest chemistry I have ever seen between two young actors. They play two hard-ass NYC detectives looking to end the war on drugs more-or-less permanently by taking down an international conspiracy which they have just barely sniffed out. And make no mistake, they, particularly Hackman's "Popeye Doyle" are at war, and treat their jobs as a battlefield. Doyle pursues his quarry with utterly wreckless abandon, endangering the lives of dozens of people along the way. While both men are absolutely terrific, this stands out as one of Hackman's greatest performances, and his Oscar is well-deserved (not something you will see me say often). Backed by a strong supporting cast, and some of the best live-action cinematography of the late 20th century, this film does not allow you to turn away, get popcorn, or even deal with bodily functions for its entire duration.

Considered in the early 70s to be 'shockingly violent', this film does not even reach a tenth the degree of passive violent repulsion of the average Tarantino film, and it relies, instead, on amazing performances, flawless direction, a phenomenal post-modern soundtrack and edgy, tense camera-work. Unlike contemporary action film garbage, it also gives you complex characters who you can care about, but never fully understand. I will cut this review short because I am running out of superlatives. Anybody remotely interested in expanding or just appreciating the artistic breadth and depth of mainstream film needs to see this.