Rating: 8.5 out of 10.

This happens to be a great film, yet also an action film, yet also with a deep, dark message. How? In the modern age, it’s sad that all of those are basically exclusive from one another. But, back in the early seventies, The French Connection was just about ready to revolutionise cinema.

The story is based around New York cop Popeye Doyle (Gene Hackman) and his partner Cloudy Russo (Roy Scheider), who set themselves the dangerous task of busting a heroin deal between polished French businessman Alain Chernier (Fernando Rey) and young corner shop owner Sal Boca (Tony Lo Bianco).

This was a vital film in the bad cop revival of the early seventies. Alongside Bullitt and Dirty Harry, it was not simply about plain old good guys. It’s about realism, taking us into gritty, dark and cynical truths. If you’re looking for characters with centred morals, this probably isn’t the film for you. The antihero is a different type of character in this perfectly timed resurgence – it’s an everyman against the system, tough, but in the end, their own greatest enemy.

Gene Hackman’s Doyle seems to sum that up perfectly. Corrupt, hot headed, heavy handed and racist, Doyle is worse than flawed. Yet his ‘hunches’ seem to get results, even if a few people die along the way. But he doesn’t seem to care too much about that – it’s just something that comes with the job. His colleagues don’t let him forget his deficiencies, but that only seems to spur him on more to catch criminals, which in turn makes him more unglamorously corrupt. It’s a vicious circle, and one that catches up with him in the end.

New York is the ideal backdrop for The French Connection. Alongside films such as Taxi Driver, their brilliant depictions of the city at that time create a darkened atmosphere that means The French Connection ends up feeling like one of the most true to life crime procedurals ever made. Obviously, New York has changed a lot since then, for better or worse, but films like this give us a lovely dose of nostalgia of what we used to dream the city that never slept was like.

But it’s also not just exclusive to New York: we have pretty and gracious Marseilles at the start, beautifully juxtaposed against our grungy US landscape. New York is then split into two as we progress – Manhattan, a playpen for the rich and powerful, perfumes and flowers in the extravagant shop windows, and Brooklyn, full of hobos, junkies and small time criminals. There’s even an exclusive scene in Washington, portrayed as an empty, soulless capital, away from the urban dogfights that really matter.

The film is a slow burner, especially at the start. But I still really appreciated those early scenes. Perhaps my film palette is improving after writing all these reviews, but I doubt that’s the reason. I think I appreciate them because they help to create such a satisfying climax. The slow burner is an art – you have to be able to suck the audience in, just about manage to keep them there, and then knock them out with a thrilling blow. And I think The French Connection has perfected that.

Hackman and Scheider’s chemistry is something to behold – it’s simply astonishing how good they are together, and their camaraderie bring some vital comedic touches to a pretty nihilistic film. This is a forgotten partnership, and one that definitely deserves more recognition. All of the casting is superb, in fact – Fernando Rey brings a classy performance, and I loved Tony Lo Bianco as Sal. He’s excellent. The director, William Friedkin, said:

The way that film was cast, it was like the Movie God took care of it.

William Friedkin

And he didn’t do such a bad job himself. The direction, the cinematography – all stunning. He was relatively unknown at the time, and while some hasn’t aged too well, I love the vibrant, jaunty and rough style. He would go one to make The Exorcist two years later, a film which could be argued had a life of it’s own, but he also created some iconic scenes here, such as that car chase. Similar to Doyle’s lack of regard for human life, Friedkin filmed the chase without clearing the busy streets, and all without a permit. Which is pretty shocking, especially when you think it’s harrowing just watching it on a screen. This was a revolutionary five minutes that changed cinema.

Yet, I wouldn’t label that the best part of the film. Instead, I would go with the ending. This film is worth the wait. Doyle and Russo enter a building beyond repair, hideously decayed like the city and police force within it. Doyle’s task is already fanatical, but he gets swallowed up by his obsession. Leaving a dead colleague in his wake, the open ending, of Hackman walking through the gates of hell, the gates of his moral demise, to the sound of a singular gun shot, before cutting to black, is simply film – in all it’s glory.

There is no exaggeration or excess in The French Connection. It is perhaps the complete opposite of that. It’s tough, and compelling, and it’s impossible to look away. Mesmerised, you can’t help but witness the worst of humanity. Even at it’s finest, the downbeat, purgatory ending is what makes this a masterpiece.

The French Connection – 8.5 out of 10


  1. In the novel of Dog day Afternoon, there’s a line about watching French Connection and leaving before the end, which was apparently a thing; there seems to have been a backlash against the downbeat feel of the end, and some audiences just wanted it to end on a climactic kill. Better for it, but I can see both sides of that idea…

    Liked by 2 people

    1. I’m not surprised about Dog Day Afternoon. They were a bunch of imbeciles, so I rest my case.

      Maybe people did want a climatic kill to end, but that’s not what The French Connection was about. As I said, there was no exaggeration or excess – it was scarily realistic. Going a big shoot ’em up end would be going against what makes this film great, IMHO.

      Liked by 2 people

  2. I really should watch this at some point in life. Fab review.

    Liked by 3 people

    1. Thanks Fraggle! Definitely worth a place on the list.

      Liked by 2 people

  3. Brilliant film and wonderfully gritty police procedural. Friedkin gives a terrific account of the making of the picture in his autobiography The Friedkin Connection. Well worth a read for that film alone.

    Liked by 3 people

    1. That’s interesting – I’m not a massive fan of autobiographies, but Friedkin knows what he’s talking about. I’ll be sure to check it out!

      Liked by 1 person

  4. When Friedkin tries to beat (or to bite) the Bullitt 😉
    That makes a memorable car chase for an unforgettable movie. But as you wrote, that’s not the only valuable point for sure. From Marseille to New York, it’s a kind of documentary on a drug deal that started in France with Carbone and Spirito. But it’s the lunatic Popeye that revealed a fabulous actor as Gene Hackman.
    Thanks for that really good review !

    Liked by 1 person

    1. I definitely agree – it’s one of the first films of that time to delve deeper into the drug problems at that time, and it captures it superbly. You’re bang on. Gene Hackman is wonderful, and what a career he would go on to have! I think Friedkin was a little hesitant when he was cast at first, but I bet he can rest assured now, eh? Thanks for the comment, the compliment, and a very funny pun. Well played my friend!

      Liked by 1 person

  5. Ola G says:

    That car chase is legendary! I do appreciate the darkness of this movie, and Hackman is perfectly cast. It seems to me like the artistry in the endings is slowly disappearing, though – most movies these days either opt for a lousy tacked-on happy end, or will lead you by the hand, browbeating you with their vision so that you can’t misunderstand it even if you tried 😉
    It’s similar with other media, too – especially comic books. Classics like The Watchmen or Killing Joke have open endings which form a big part of their overall allure.

    Liked by 3 people

    1. The lost artistry of the ending. Worthy of an article, Ola! But you’re right, and it’s pretty sad. The open ending can be a tricky one because you can either leave the audience completely unsatisfied and disappointed, or let their imagination run wild with exciting and endless possibilities. The French Connection gets it right, and reminds us how great a film can brings it all to a devastating conclusion.

      Liked by 1 person

  6. beetleypete says:

    I saw that on release in a ‘big-screen’ cinema and was suitably impressed. I had already enjoyed Hackman as Buck, in Bonnie and Clyde, and he stepped up to the starring role very well indeed. I agree about the casting, though as for the car chase, I think ‘Bullitt’ holds the crown. That was amazing on a large cinema screen, and still holds up now.
    My favourite Hackman performance is in ‘The Conversation’. I suspect you have seen that, but if not, I urge you to watch it.
    Best wishes, Pete.

    Liked by 2 people

    1. Never got round to watching Bullitt, but it’s up there on the list. The Conversation is a great shout – if all goes well, a review could be coming relatively soon…

      Liked by 1 person

      1. beetleypete says:

        Shame you never saw Bullitt on a big screen.

        Liked by 1 person

        1. One day. May I’ll just have to buy my own cinema.

          Liked by 1 person

        2. beetleypete says:

          If I win the lottery, that’s what I want. An old-fashioned Art Deco cinema with only enough seats for me and my friends. 🙂

          Liked by 2 people

        3. That’s the dream, Pete! That’s the dream…

          Liked by 1 person

  7. rdfranciswriter says:

    As you said: An action movie with a deep, dark message. They don’t make ’em (action movies) with message, anymore.

    Liked by 1 person

    1. Modern day action movies have become everything they shouldn’t be. Yes, they usually have a good dose of violence, but that tends to end up biting them – it becomes dull, and the whole film ends up just feeling like an extended fight scene. Complex characters and well structured plots are lacking, let alone some meaning to the film. It’s alright just trying to entertain, but when you can’t even do that? Well, then something is clearly wrong. Appreciate the like and comment!

      Liked by 1 person

      1. rdfranciswriter says:

        Yes, totally agree.

        I always remember Bruce Campbell speaking of a film he did (forget the name; I think it was an in-space flick). The whole script was “wild lines” of “Get down!,” “Look out!,” “Run!” and so on, with a bunch of cheap, direct-to-video Bay-os.

        Liked by 1 person

        1. Exactly. At the end of the day, that’s never going to formulate a good film. The French Connection ends up going completely against what we would usually expect in an action film – excellent characters, a deeper meaning, little blood: basically focusing on the important things – and is widely regarded as one of the best, so I guess that tells a story.

          Liked by 1 person

        2. rdfranciswriter says:

          Yep. Don’t look for the Rock in a film like that!

          Liked by 1 person

        3. Ha! Definitely not!


  8. Tom says:

    this is a major blind spot for me. I’m completely embarrassed I haven’t seen The French Connection. Embarrassed as a fan of Gene Hackman, embarrassed as a fan of crime dramas, embarrassed all around, really! 😀

    Liked by 1 person

    1. Oh yeah, this needs to change, Tom! Definitely worth a watch – it’s a real classic.

      Liked by 2 people

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