a5c7b9f00b Police partners Doyle and Russo put a candy store under surveillance based on a hunch that something fishy was going on. Eventually it turns out that the proprietors are involved in one of the biggest narcotics smuggling rings on either side of the Atlantic, and the cops go to work.
William Friedkin's gritty police drama portrays two tough New York City cops trying to intercept a huge heroin shipment coming from France. An interesting contrast is established between 'Popeye' Doyle, a short-tempered alcoholic bigot who is nevertheless a hard-working and dedicated police officer, and his nemesis Alain Charnier, a suave and urbane gentleman who is nevertheless a criminal and one of the largest drug suppliers of pure heroin to North America. During the surveillance and eventual bust, Friedkin provides one of the most gripping and memorable car chase sequences ever filmed.
I saw this movie because it won the 1971 Academy Award for Best Picture. While I don't rate it too highly, in the scheme of things it is a great 70's film about the hard times of New York Copsthey battle against drugs. The French Connection details international heroin smuggling into New York City via the "French Connection" and the attempts of a different kind of detective who wished to stop it. This and Bullit are both widely known for an exciting car chase (what about the film "The Chase"). Good acting, writing, and location filming made this one of the big hits of 1971. A sequel follows. As time passes, the story is still good, but modern technology would up-date this drama. Of course a battle against drugs is a win-lose situation. ("The French Connection" is a winner, but the battle still rages on) (viewed on video, rating: 6/10)
The French Connection (1971)<br/><br/>Director William Friedkin would make it impossible to see his career straight two years after "The French Connection" by directing "The Exorcist," which took on a life of its own. But prior to that, this was the movie that defined his career. It was the New Hollywood answer to film noir, and the lead male (Gene Hackman) is presented without glamour, the gritty city (New York) without dramatic shadows and light, and the plot (about modern drug dealing) without hyped up dramatics. This is a moviedown in the mouththe world it represents, and it's all deliberate, and smart.<br/><br/>This is the stuff of a breakthrough movie. It isn't quitegripping now, I think, but it still sucks you in. There are lots of scenes in cars, including the famous car chase, and lots of good old street stuff in Manhattan, very 1970 (when it was shot). The plot and pace of things is more steady than exciting, usually, not cinema verite but a kind of camera work that is unglamorous with the idea that this really is the way it is, and it works great. It would have been easy to push this farther and make it truly boring, but it doesn't go there. Instead we see the details of a couple of cops out to break a huge dope ring.<br/><br/>Most of the movie (I'm going to guess three quarters) is simply the cops trailing the bad guys, on foot or by car. There are very brief interspersed personal dramas, and there are conversations that keep the plot clear, but the overall big vector here is one direction, and the cops get closer in spurts and jerks to their prey. The velocity does increase gradually in the second half, with a kind of brilliant building to a finale, and by the end it's a thrilling climax. <br/><br/>In a way, this kind of film is the exact opposite of something like "Die Hard," which is all exaggeration and excess. And if those other kinds of movies are more fun, this is not only edgy, it's pertinent. And the music is by jazz great Don Ellis. Look for a scene with the World Trade Center towers under construction in the distance.<br/><br/>Check this film out. A special movie that actually reveals something about police life, hard core, no glitz.
This tough, brilliant crime film features Hackmanthe indefatigable Popeye Doyle, who passionately hates drug pushers.
The word "frog" is often useda derogatory term for someone of French descent. When Popeye refers to Charnier"Frog One," he's trying to distinguish Charnier from his partner, Pierre Nicoli. It can also be a way to show Popeye's generally bigoted attitude. He's deliberately trying to confuse Willy into making a confession. Poughkeepsie is a small city about 80 miles north of New York on the Hudson River. Willy may have a drug connection up there that buys product from him and sells it in that region. His line, which is somewhere along the lines of "when was the last time you picked your feet in Poughkeepsie" is basically nonsense. Repeating it and variations of it including only Poughkeepsie or just when the person has last "picked their feet", over and over in a threatening manner, is a tactic meant to bewilder the subject. While the criminal is desperately trying to figure out what this sentence is a code for, the interrogators intersperse the badgering with actual questions like "who's your connection Willie, what's his name!?" and "is it Joe the barber?" The totally confused criminal up against the wall, doesn't know what this Poughkeepsie thing is, but it sounds bad and he sure didn't do it. So to take the questioning away from this mysterious act the police think he's performed, that must be pretty terrible, Willie admits to what they really want to know out of fear. This tactic/phrase was actually developed by the character that Gene Hackman played, in real life (the movie is loosely based on a true story). Source: French Connection Commentary extra found in the DVD version of the movie. They more than likely bought Devereaux a new car exactly like the old one. Putting the car back together after spending several hours tearing it apart would have taken at least twicelong, plus there was the actual damage they caused to the interior while ripping out upholstery, carpeting & other trim. From there it'd be a simple matter of buying a new Lincoln, pulling out the rocker panels in that one & stashing the heroin & transferring the license plates to it.
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