Best Actor in a Leading Role
Gene Hackman
Best Director
William Friedkin
Best Film Editing
Gerald B. Greenberg
Best Picture
Philip D'Antoni
Best Writing, Screenplay Based on Material from Another Medium
Ernest Tidyman
Nominated
Best Actor in a Supporting Role
Roy Scheider
Best Cinematography
Owen Roizman
Best Sound
Theodore Soderberg
Christopher Newman
Thursday, April 24, 2008
Plot
The film opens in Marseilles, France, a city well known as a center for refining heroin. An undercover French detective follows Alain Charnier (Rey), a well-dressed and refined man who on the surface is an honest businessman, but claims he hasn't put in an honest day's work "since [he] stepped off the crane." In this scene, the motif of the hunter becoming the hunted first manifests itself, as the detective is tailed home by Charnier's hitman, Pierre Nicoli, where he is shot and killed.
The next scene, which takes place in New York, introduces the two main characters, Jimmy "Popeye" Doyle (Hackman) and Buddy "Cloudy" Russo (Scheider), on a stakeout of their own. These characters are based on actual New York narcotics detectives Eddie Egan and Sonny Grasso. Many of the scenes are acted out almost exactly as they occurred, as both detectives were on set both as consultants, and as actors.
In the scene, the two detectives chase and violently interrogate a street thug after he flees a raid on a bar. This scene, based on an actual event, identifies the contrasting nature of the two detectives. Popeye is identified as a rash drunk, whose passion for his existence dominates his entire being, whereas Cloudy is calm and reserved. The scene depicted the actual methods of the NYC detectives, and this was also one of the first uses of the now all-too-common "good cop / bad cop" technique.
While in a nightclub, Popeye notices an unfamiliar face amongst a table of known gangsters, and is immediately suspicious. The face belongs to Sal Boca, a young Italian deli owner who plans to import 60 kilos of Charnier's heroin into the United States in a massive $32 million deal. Popeye decides to follow him, and he and Cloudy commence the stakeout which would eventually reveal the identity of "French Connection."
The hunter becomes the hunted a second time in what is likely the film's most famous scene. In the scene, Popeye evades assassination by Nicoli, and chases him through the city in a very unique manner.
The next scene, which takes place in New York, introduces the two main characters, Jimmy "Popeye" Doyle (Hackman) and Buddy "Cloudy" Russo (Scheider), on a stakeout of their own. These characters are based on actual New York narcotics detectives Eddie Egan and Sonny Grasso. Many of the scenes are acted out almost exactly as they occurred, as both detectives were on set both as consultants, and as actors.
In the scene, the two detectives chase and violently interrogate a street thug after he flees a raid on a bar. This scene, based on an actual event, identifies the contrasting nature of the two detectives. Popeye is identified as a rash drunk, whose passion for his existence dominates his entire being, whereas Cloudy is calm and reserved. The scene depicted the actual methods of the NYC detectives, and this was also one of the first uses of the now all-too-common "good cop / bad cop" technique.
While in a nightclub, Popeye notices an unfamiliar face amongst a table of known gangsters, and is immediately suspicious. The face belongs to Sal Boca, a young Italian deli owner who plans to import 60 kilos of Charnier's heroin into the United States in a massive $32 million deal. Popeye decides to follow him, and he and Cloudy commence the stakeout which would eventually reveal the identity of "French Connection."
The hunter becomes the hunted a second time in what is likely the film's most famous scene. In the scene, Popeye evades assassination by Nicoli, and chases him through the city in a very unique manner.
Cast
Gene Hackman .... Det. Jimmy "Popeye" Doyle
Fernando Rey ......................... Alain Charnier
Roy Scheider ....... Det. Buddy "Cloudy" Russo
Tony Lo Bianco ............................... Sal Boca
Marcel Bozzuffi ............. Pierre Nicoli, Hitman
Frédéric de Pasquale ........... Henri Devereaux
Bill Hickman ............................. Bill Mulderig
Ann Rebbot ................... Mrs. Marie Charnier
Harold Gary ............................ Joel Weinstock
Arlene Farber .............................. Angie Boca
Eddie Egan ............................ Walt Simonson
André Ernotte .................................. La Valle
Sonny Grosso ................................. Bill Klein
Benny Marino ................................ Lou Boca*
Patrick McDermott ......................... Chemist*
Alan Weeks .......... Willie Craven, Drug Dealer
The Three Degrees ........................... Singers*
(* - As himself or herself)
Fernando Rey ......................... Alain Charnier
Roy Scheider ....... Det. Buddy "Cloudy" Russo
Tony Lo Bianco ............................... Sal Boca
Marcel Bozzuffi ............. Pierre Nicoli, Hitman
Frédéric de Pasquale ........... Henri Devereaux
Bill Hickman ............................. Bill Mulderig
Ann Rebbot ................... Mrs. Marie Charnier
Harold Gary ............................ Joel Weinstock
Arlene Farber .............................. Angie Boca
Eddie Egan ............................ Walt Simonson
André Ernotte .................................. La Valle
Sonny Grosso ................................. Bill Klein
Benny Marino ................................ Lou Boca*
Patrick McDermott ......................... Chemist*
Alan Weeks .......... Willie Craven, Drug Dealer
The Three Degrees ........................... Singers*
(* - As himself or herself)
Monday, April 21, 2008
Style
Director William Friedkin, (The Exorcist) wanted to create the most realistic depiction possible of the actual events on which the film was based. In the film's director commentary track, he describes the editing style as "elliptical" and without a constant linear structure. He cites Jean-Luc Godard's Breathless and Costa Gavras' Z, along with Sherlock Holmes as direct influences on his film, in which he sought to capture the "documentary feel" through the use of various technical methods.
Most of the film's camerawork was done with very low light levels, and much of the footage was captured using handheld cameras, perfect for creating his desired documentary style. He employed famed cameraman Enrique Bravo who, using handhelds, filmed much the Cuban revolution from the side of Fidel Castro himself. All scenes were shot on location.
Most of the film's camerawork was done with very low light levels, and much of the footage was captured using handheld cameras, perfect for creating his desired documentary style. He employed famed cameraman Enrique Bravo who, using handhelds, filmed much the Cuban revolution from the side of Fidel Castro himself. All scenes were shot on location.
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