The French Connection, directed by William Friedkin, is one of the most acclaimed crime films of all time, about a New York detective looking for a smuggler. It is heroin. Released in theaters in 1971, at the height of the New Hollywood movement, the film offers an innovative and astonishing display of the police noir genre.
Unlike many films of its time, it is surprisingly more And it is fresh. The French connection has become a lasting masterpiece with a gray image of the police, the famous car chases and vague endings.
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8. William Friedkin's sharp tone
New Hollywood filmmakers In the 1970s, they injected a healthy and bitter dose of realism into the criminal genre with films such as Chinatown, Main Streets, and Midnight Express. One of the most influential examples of the daring crime movies of the 1970s is the French connection. Tramples. There is not even any coincidence in the film to acquit the stubborn heroes of the film. Detectives follow their instincts like the stars of other detective programs, but unfortunately their perceptions are not always correct.
7. Jane Hackman's impressive performance as Pope Doyle
6. High speed
Day-to-day action movies To prevent the genre from becoming obsolete, they are getting faster and faster. So many old action movies that have a slow rhythm and speed bore the audience. The French connection does not suffer from this problem, because the director William Friedkin, with his high skill, gives the film a good speed.
The script is always forward and Doyle is drowning in it, so a dull moment Not in the story. Roger Ebert wrote in his review of the film: "Literally, the whole film is a chase." The car chase is one of the most famous French communication sequences, but the film has the same amount of energy, not only in that scene, but from beginning to end.
5. Show the New York Burnout correctly
Filmed throughout the city, it is one of New York City's most important crime films. "Friedkin knows better than anyone how to use New York City locations," John Simon wrote in his book Reverse Angle. Fans can understand Simon's claim while watching the film.
Owen Ruizman uses images such as steam vents and garbage-covered sidewalks to show the wear and tear of New York with his dark filming style. The film's gray, barren landscapes convey the feeling of coldness and darkness of the corners of New York to the viewer during the harsh winter.
4. Gray drawing of police
Drawing the gray moral character of the police in a French connection (especially Doyle) is a good antidote to the black-and-white police work in the form of thieves and police, who portray police violence as a prerequisite for heroism. Doyle makes questionable choices in his obsessive pursuit of Charnier. Doyle, like Harry Callahan, does not do what is written in books and, for example, beats suspects in the streets and cafes. Unfortunately, Friedkin's challenging image of a violent police officer abusing his power still lingers. They challenged the police. Later, films such as Serpico and The Red Circle also examined the corruption of power.
3. Powerful performance on the screen in the role of complement and shadow
Maybe nominated for Best Supporting Actor, he showed a certain quality and originality in the cloud role, and later in a different role as a boss, Brody in Steven Spielberg's jaws, the same quality. He repeated. Doyle does not rest until the notorious French smuggler is brought to justice, but perhaps with his calmness and composure in all his scenes, he balances the characters.
2. Legendary Machine Chase
French Communication Like Bullet and the Road Warrior, he is known for his car chase, which is one of the best scenes in the film. Doyle chases the smuggler but he gets on the city electric train but Doyle does not give up and grabs a vehicle to chase the train.
The physical stunt work in this scene is stunning. A Pontiac breaks through the streets of New York, knocking down a pile of boxes inside sidewalks and other vehicles. The shooting and editing of the French communication chase sequence has a special energy and also its quality and clarity is unparalleled. During this sequence, the audience always knows how far Doyle is behind the train and sees the obstacles in his way.
1. vague ending
end of French communication, Doyle chases Charnier off the screen, and suddenly a shot is heard, and then the title of the movie appears, next to which is a note indicating that Charnier is not trapped. The film's sequel later revealed what happened after that and part of the ambiguity of this symbolic ending was resolved, but the stubborn uncertainty of the original film's ending still shocks viewers.
This film, like most Hollywood movies do not put everything in one corner, because police investigations are rarely summed up in one corner. This ambiguous ending establishes the position of French communication as a rigorous, innovative, and new work in the detective and noir genres.