MPAA Rating: R/Genre: Neo-Noir Action Thriller/Stars: Gene Hackman, Fernando Rey, Roy Scheider, Tony Lo Bianco, Marcel Bozzuffi, Frédéric de Pasquale, Bill Hickman, Ann Rebbot, Harold Gary, Arlene Farber, Eddie Egan, André Ernotte, Sonny Grosso, Randy Jurgensen, Alan Weeks/Runtime: 104 minutes

If you really want to know how cinema can define a decade in the history of the world, then it is my express belief that you should look at what genres of movie magic were big around that specific period of time. Perhaps this is why I can safely say that the 2020s seem to be the decade of adapt and/or remake everything that isn’t nailed down by copyright, 2010s were without a doubt the decade of the superhero, the 2000s was the decade of whatever Hollywood happened to have lying around, the 90s was the decade that saw the rise of the indie film, the 80s was the decade of larger than life popcorn action flicks and slasher films, and the 70s gave audiences blaxploitation films and tough as nails cinematic crime sagas respectively. Out of that last category incidentally came not only a film I may or may not be reviewing for you later on this week, but also a slice of cinema that I am most assuredly reviewing for you today. That being The French Connection from the “long-ago” year of 1971. Indeed it might cause you to roll your eyes in exasperation whenever you hear someone of a certain age say “ya know they just don’t make films quite like they used to”, but the truth is dear reader with this film I honestly do not think that Hollywood would be able to make it today if it wanted to. Maybe it’s because the tempo of the world has gotten to the equivalent of that prankster in the gym turning the speed on the treadmill up to a 20 when we should really be at 10 or maybe it’s that so many movie makers don’t want to remember what came before in their attempts to make movies in the here and now. Any way you shake it, it just feels like there really is a divide between yesterday’s movies which made you think and a lot of today’s movies which kill any brain cells that you didn’t hide away before starting it and that really is a tragedy. This is because to make a slice of cinema in the vein of this you not only need devotion and the infamous virtue all our parents told us to learn a time or 5 known as patience, but also an appreciation for the little details so you can take in everything the movie is hurtling your way. Qualities that not only operate as a reflection on the movie overall, but also in spending time with the characters themselves and making your way through the narrative with them. In that vein, it should come as no surprise to learn then that whilst this slice of cinema is very much a product of the 70s, it is also one that, should you give it the chance to work its magic on you, will reward you with an intelligent, taut, and extremely well-acted and made viewing experience that definitely operates as grade-A proof of just how great a film can be.

The plot is as follows: A fictional adaptation of a 1969 non-fiction book of the same name by Robin Moore, The French Connection gets underway by taking us to the exotic locale of Marseille where we watch as a member of that distinct community known as law enforcement is currently in the middle of shadowing a local businessman for reasons that are unknown to us. Yet just when it looks like this might simply be a situation of the cops keeping an eye on someone for their own protection, we see that this is quickly and swiftly dispelled when the cop, upon returning home to his apartment, is ambushed and promptly executed by a mystery hitman who, his assignment having been completed, then proceeds to leave the scene as quickly as possible. From there, the film then takes us to the iconic locale of New York City where, among the time-honored elements that are out and about on this wintery day, we quickly see a man selling hot dogs and another man dressed like Santa Claus asking a group of kids assembled what they want for Christmas and even leading them in a few Christmas carols. In other words: just your typical block in 1970s New York City….or at least it is until the hot dog seller goes into a nearby bar to find someone only to then, with Santa in tow, proceed to give chase on foot to someone who fled the scene. Indeed, in case you hadn’t put two and five together yet dear reader, our friendly neighborhood hot dog guy to say nothing of Kris Kringle aren’t exactly who they are claiming to be either. Rather, they are two members of that distinct group known as the NYPD named Buddy “Cloudy” Russo and Jimmy “Popeye” Doyle respectively and it is their job to weed out drug dealers, smugglers, users, etc. as part of the NYPD’s Narcotics Division and see that they are brought to justice for their crimes. A job that, despite Popeye possessing more than a few qualities that have resulted in him being seen by the vast majority of his law enforcement colleagues as a maverick on a good day and no less than a loose cannon who needs to turn in his badge before he does any more damage on a bad day, our dynamic duo have showcased to be quite successful in. It isn’t long though before Popeye and his partner’s skill and tenacity are soon put to the test when, following word from an informant, they find themselves on the hunt for what could be one heck of a shipment of narcotics coming in from out of the country. Thus as the dynamic duo follow the trail from a local couple named Sal and Angie Boca to a major player in NYC’s drug scene Joel Weinstock and past that to the true ringleader involved, can they get to the mastermind at the heart of this dastardly plot and keep whatever drugs they are trying to bring in off the streets or is this one case that’s too much for even the wild and crazy Popeye Doyle to handle? That I shall let you uncover for yourself…..

Now right off, it should be said that the technical work done by the various departments behind the camera on this particular cinematic outing is truly nothing short of impeccable. This starts with the engaging work done by the highly underrated William Friedkin at the helm and this is definitely an example of, unlike say 1990’s The Guardian, Friedkin operating at the pinnacle of his abilities. Indeed perhaps the key element that Friedkin brings to this film is the fact that, if you didn’t know any better, you’d swear you were watching a documentary about events that actually went down rather than a fictional narrative. This is because the film not only in terms of shooting style and the fact that it was shot in actual locations, but also with respect to how it accurately depicts the long and tasking street-level work done by people in the law enforcement professional looks and feels authentic right down to a scene with Doyle shivering outside in the cold on a stakeout whilst his quarry enjoys a delicious warm meal inside a restaurant. We also see that this phenomenal degree of skill also extends to the Oscar-nominated work done by the cinematography department. Indeed not only is this film masterfully and cleanly shot, but the camerawork on display even does a terrific job of making you feel like you are right there with our cast of characters as a direct witness to the events playing out rather than an audience member watching a film about them.  Alongside the prior-mentioned ingredients, it should also be said that the action beats presented to us in this film are absolutely electrifying. Unlike a lot of other films in this genre and others, praise should be afforded to this film for permitting its action beats to both occur in an organic manner as well as feel like a natural extension to the narrative being told. Without a doubt, the undeniable highlight in this category is this film’s now-famous car vs. subway train chase sequence. A sequence that is not only skillfully executed, but also will leave you on the edge of your seat. Indeed, and like a lot of the other components to this film, it is the realistic manner in which the chase is engaged in that really helps it to work as effectively as it does. I mean is the car driven in a manner that it is realistic, but the fact that they filmed it without the necessary paperwork means that you are never entirely sure as to how this chase will play out thus making it more thrilling than one that you can see the “studio-approved” stamp on from a mile away. Even when looking at the other action beats that this film offers an audience, we see that there might not be that many in the grand scheme of things, but they all manage to showcase a degree of genuineness, peril, and authenticity that help provide the overall viewing experience with a welcome degree of credibility. Suffice it to say then when you also factor in a solidly composed musical accompaniment from Don Ellis and a terrifically penned script from Ernest Tidyman (who also incidentally wrote a series of best-sellers about a certain NYC private eye named Shaft), it’s clear that there might be some minuscule issues here and there, but overall the work done behind the camera on this film is able to do a masterful job of ensuring that you are left hooked and on the edge of your seat right from the word go and then leaves you there up until the screen cuts to black at the very end.

Of course, the other element that most assuredly helps this movie to achieve the level of greatness that it is aspiring to would have to come from the collection of performances in front of the camera by the undeniably talented cast. Without a doubt in my mind, this starts with Gene Hackman and to be fair, I know that a lot of people out there might remember him as the OG Lex Luthor in the Donner Superman saga and if you are around my age then it’s even more likely you remember his vocal turn as the antagonistical General Mandible in the 1998 animated film Antz. With that being said though, there is no denying that his role as Popeye Doyle is far and away one of the five best performances this icon of the silver screen ever graced us with before his retirement back in 2004. Indeed in the hands of Hackman, the character of Doyle is someone who, without question, is definitely an individual who just seems tailormade for his particular professional path in life to say the least and is definitely a cop who is willing to get the job done without any questions being asked. At the same time however, the man is also such a mix of unyielding, dogged, relentless, prejudiced (undeniably so), and at times just straight up merciless in his ever-continuing hunt to put the people who peddle drugs on his beloved patch of New York City away that we see he is forced to engage in certain actions that not only would not come as recommended courses of action during police training, but also have given him a bit of a reputation that make him someone that the majority of New York’s finest would not rather get mixed up with. Even so however, there is no denying that the character is one that, by and large, worth rooting for. Not because of his negatives (especially his prejudices toward other people), but because he is willing to do what it takes to see that justice is achieved. Suffice it to say then that he might not be the nicest member of law enforcement to ever grace the silver screen, but in the way that only an actor like Hackman could bring to the screen he is easily one of the most unforgettable. Operating as the brilliant foil to Hackman’s Doyle is a top-tier turn from Fernando Rey. Indeed, as portrayed by Rey, the character of Alain Charnier is one who, in a serious departure from most movie bad guys, is not out to get back at the main character in any way nor is he given much (if any) backstory. Rather, he is just merely a brilliant crook whose finding his work thrown a curve by this persistent American cop and, as such, must continue to try and stay one step ahead of him. Alongside Hackman and Rey, the film also benefits from an Oscar-nominated turn from Roy Scheider as Hackman’s partner on the force. Indeed Scheider always was an underrated talent and here he does a phenomenal job as a guy who might be as reserved as Doyle is hotheaded, but who is very much willing to both trade barbs with him and back him up with both their superior and other law enforcement agents should he need to. Suffice it to say that when you also factor in solid efforts from such talented thespians as Tony Lo Bianco, Marcel Bozzuffi, Bill Hickman, and even the two real-life counterparts to Hackman and Scheider’s characters as their (undoubtedly cursed with multiple ulcers due to their antics) police captain and one of the two feds assigned to work with them respectively among others it’s clear that five decades has come and gone, but the talent on display still manages to shine as brightly as it did when this film first opened.

All in all and at the end of the day, is The French Connection a perfect and flawless slice of cinema by any stretch of the imagination? Sadly as much as I would love to say absolutely I sadly cannot though it is one film that definitely manages to come a heck of a lot closer than many others are able to. At the same time however, is this the worst film since Gene Hackman decided to be in a rom-com with the incomparable Barbara Streisand from 1981 titled All Night Long (no relation to the Lionel Richie song of the same name sadly) or was the voice of none other than God in the John Travolta-Olivia Newton John romantic fantasy called Grease 2 ehhhh I mean Two of a Kind from 1983? Thankfully, for both Hackman to say nothing of my own degree of peace of mind, I can say that is most assuredly not the case either. Indeed in many respects, The French Connection is definitely one slice of cinema that best comes to mind when you think of films that are not only classics in their respective genres of movie magic, but also of the decade in which they were made. I mean not only is the work behind the camera in virtually every facet from directing, script, cinematography plus the action beats and more a wonderful blend of electrifying and realistic, but the performances by the immensely talented cast, led by an absolutely dynamic and nothing short of star making lead performance from screen icon Gene Hackman, are all spot-on no matter how big or small their overall amount of screentime in the grand proceedings may be. Suffice it to say then that it might have some miniscule issues here and there, but overall The French Connection is more than just a genuinely phenomenal entry in the crime thriller genre to say nothing of both a winning entry in its lead actor’s truly iconic filmography as well as a fitting poster child for 1970s cinema in general. Rather, it is also a must-see film in every sense of the word and a true cinematic connection, if you’ll pardon the pun, that you cannot afford to miss. Now as for its 1975 sequel and that failed TV pilot from 1986 which had none other than Al Bundy taking over for Hackman in the role of Doyle…well I guess some things are best left as a one and done….Make of that what thou will dear reader. On a scale of 1-5 I give The French Connection “71” a solid 4.5 out of 5.