Directed by:
William FriedkinScreenplay:
Ernest TidymanCinematography:
Owen RoizmanComposer:
Don EllisCast:
Gene Hackman, Fernando Rey, Roy Scheider, Tony Lo Bianco, Marcel Bozzuffi, Bill Hickman, Frédéric de Pasquale, Harold Gary, Eddie Egan, Benny Marino (more)VOD (4)
Plots(1)
New York City detectives "Popeye" Doyle (Gene Hackman) and Buddy Russo (Roy Scheider) hope to break a narcotics smuggling ring and ultimately uncover The French Connection. But when one of the criminals tries to kill Doyle, he begins a deadly pursuit that takes him far outside the city limits. (official distributor synopsis)
Videos (1)
Reviews (9)
As one of the cornerstones of classic crime films, this movie is a perfect example of directorial mastery, capable of delivering a unique cinematic experience even several decades later. With a simple and schematic plot, it relies on all the fundamental clichés that the crime genre offers. William Friedkin directs at a fast pace and creates his strongest moments out of utter banalities, such as a simple jog on the sidewalk while following a suspicious person. For the more demanding audience, he later features a fantastic car chase with extraordinary stunts. The pair of detectives, played by Gene Hackman and Roy Scheider, complement each other perfectly not only in character but also in acting. The French Connection perfectly fulfills the notion that in simplicity often lies the greatest beauty.
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It's a fact that even after 47 years, Hackman's elevated train chase still has huge balls. Friedkin always had the directing down pat, and along with The Exorcist and Sorcerer, The French Connection is a distinct creative imprint of the 70s. I was ultimately deterred from giving it the full rating by the overly intricate plot in the first half. The second half, on the other hand, is much more straightforward, more action-packed, and everything gradually makes perfect sense. Unfortunately, I never did completely shake the slightly confused impression from the first half.
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A quite solid crime drama, skillfully directed, well-acted, and well-told. The fact that William Friedkin often used a handheld camera is certainly good, and the action scenes are much more authentic and faster thanks of it. Perhaps the runtime could have been a bit longer, as the ending felt very abrupt and unfinished to me. In contrast, some scenes seem somewhat unnecessary in the script and, with a gap of over thirty years, the film has also lost some of its attractiveness and directorial prowess. However, its quality cannot be denied, and Friedkin has already proven here that he truly knows what he's doing, as he would demonstrate several more times in the following years.
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Last month, I saw in the media the passing of the legendary director William Friedkin. I decided that besides The Exorcist, I should catch up on The French Connection as well. Is it truly an excellent film overall, or is it notable primarily for its brilliantly directed car chase? I lean more toward the former. However, the film isn’t without its flaws; I can’t claim that. At times, the pace felt maddeningly slow, with the plot not advancing significantly (it was sometimes extreme, I must say). On the other hand, films from this era often had this pacing, so I can’t hold it entirely against it. Overall, though, I’m satisfied. The Hackman-Scheider duo provided flawless entertainment, and their chemistry worked perfectly. And that endlessly discussed elevated train chase? It definitely stuck in my memory. Great scene. We’ll see what the sequel brings. Frankenheimer, the director of the next installment, is known for another outstanding chase scene (Ronin). For me, Popeye Doyle and his crew earn a solid 7.5/10. P.S. The use of various camera angles was timeless. I was simply amazed :)
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Friedkin shot with a handheld camera and tried various directorial tricks to achieve as much authenticity as possible, and he succeeded to a great extent. Gene Hackman, in his first big role as a tough macho cop, made a strong impression, and his car chase with an overhead camera is unforgettable. A surprise in its time and well-deserved Oscar for Best Picture.
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