French Connection II

A little while ago, I wrote a review here of the classic 1971 movie The French Connection. The sequel, French Connection II, released in 1975, is a creditable effort, if lacking some of the magic of its predecessor. Of course, direct comparisons have to be qualified, as the second picture was entirely fictional, and had different writers and a different director (John Frankenheimer).

The story carries on from where The French Connection left off, Popeye Doyle travelling to France on the trail of the Charnier character, who it transpires had eluded capture. Naturally, there is more of a French or European flavour to this one, and I like the fact that bits of the dialogue are in the local lingo, adding a touch of authenticity. Much of the early part of the film deals with Doyle's difficulties in coming to terms with the French culture and addressing the language barrier.

As a matter of fact, Doyle's struggles in dealing with the French police, and in particular Barthelemy (Bernard Fresson), form a sizeable portion of the narrative. An uneasy relationship prevails, with Doyle's abrasive personality and pugnacious approach clashing with French methods. The more seedy parts of Marseille, and also the waterfront area, make for good settings. The chase scenes (on foot) are also impressive.

For me the heart of the film is Doyle's capture by the villains, and his subsequent agonies as he experiences drug withdrawal under the supervision of Barthelemy. Some of the scenes are quite harrowing and disturbing,  Doyle's ordeal being inter-cut with the frantic efforts of the French police to find him. Even more than the first film this one starkly illustrates the pitiless nature of the drug trade, and the extreme measures to which all parties are prepared to resort.

It seems to me that the nature of the storyline in this picture permits greater scope for Gene Hackman to display his acting range, especially the "cold turkey" sequences. There may be less grit and suspense here than in the original movie, but the "human" aspects largely make up for this, particularly the often bizarre and acrimonious exchanges between Doyle and Barthelemy.

The scenes which happen towards the close of the movie are spectacular, exciting and action-packed.I really enjoy this movie. All things considered, a worthy sequel.

The French Connection - movie review

I recently watched the classic 1971 movie "The French Connection", directed by William Friedkin, and starring Gene Hackman and Roy Scheider.

The plot, which is based on a non-fiction book by Robin Moore, revolves around the attempts of two New York detectives, Jimmy "Popeye" Doyle (Hackman) and Buddy Russo (Scheider), to apprehend a gang of narcotics smugglers.

The factors which in my opinion pervade this whole movie are darkness of tone and a corresponding darkness of scenery and imagery. Most of the scenes are located either at night or in cavernous and forbidding, dimly lit daytime settings. These elements, together with the camerawork and lighting, accentuate the claustrophobia and insidious tension. The fact that the most of the movie appears to have been filmed in cold weather may also have assisted.

Sweeping, panoramic shots are few and far between. The scenes in Washington DC, in bright sunlight, serve as an exception. The accent is firmly on urban decay and the toughness of inner city existence. Even the policemen themselves appeared to pursue a frugal and unostentatious lifestyle.

An intimacy and realism characterizes many of the scenes, including the surveillance and undercover sequences.  "Cinema verite" is probably not the correct term, but it nearly borders on "fly on the wall" at times. The editing also contributes to the overall effect.

The rawness and immediacy are also augmented by the sparsity of the dialogue, and the sparing and judicious employment of music, the visuals often sufficing to tell the story. In highlighting the "dark" motif, it should be stressed that both natural and artificial light are utilized beautifully to capture and convey the mood.

The Doyle character, as played by Hackman, is a very plausible and rounded one. The words pugnacious, irascible and even avuncular all spring to mind. Doyle could be seen as a forerunner for other prickly, unorthodox detectives who appeared in films and television later in the 1970s, inducing suspicion and disquiet in his superiors, but surviving by virtue of the results which he delivered.

The popular image of this movie is largely associated with the Doyle character, and this tends to overshadow the role of  Russo, so ably portrayed by the excellent Roy Scheider. One of the more intriguing, but less discussed, aspects of the picture is the nebulous relationship between Doyle and Russo. It does not necessarily conform to the audience's expectations of how two "partners" should deal with each other.

One or two things occurred to me during my most recent viewing. One relates to the scene where Doyle uses the pretext of a raid as a "smokescreen" to enable him to speak to an informant.  Is this a common device in crime shows and movies?  Later in the decade, a similar scene was included in an episode of the British television series "The Professionals". This also begs the question, is the practice a regular one in the real world?

I had also totally forgotten that The Three Degrees make an appearance in a nightclub scene!

Another important, if minor, touch was the decision to include some French dialogue, with subtitles. They add to the authenticity and the realism of the film.

After the absorbing but relatively sedate start to "The French Connection", the pace quickens,  around the point where Doyle and Charnier engage in a battle of wits on the New York subway. The climactic phase commences with the attempt on Doyle's life and the iconic and pulsating chase scenes.

I find some of the scenes towards the end unsettling, this sensation compounded by the contrast with the more measured fare which precedes it. Did the owner of the vehicle commandeered by Doyle receive compensation, I wonder?

Some people might regard the enigmatic ending as unsatisfactory, but on reflection I think that it is in keeping with the edgy and uncompromising nature of the film. "The French Connection" is riveting viewing.  It might not have been appreciated at the time, but in some ways its appearance heralded a golden period for American cinema, and cinema in general.  Its style and tone were at least partially indicative of what was to follow during the remainder of the decade.