The Motion Picture Production Code or Hays code as it was popularly known came into being in 1934 and required all films to be certified prior to release. Of course, this meant that producers had to tone down anything sexually explicit or violent in order to obtain certification. This was effectively artistic neutering and meant that so many subjects could just not be tackled. This code held sway until the late 60's when it began to fall apart, giving the film-makers of the 1970's so much more licence. Today's film, The French Connection was one of the first to make use of the no-boundaries 70's. It broke the mould for the police procedural genre and its effect can still be felt in cinema today.
Directed by the supreme ego that is William Friedkin, The French Connection tells the tale of two narcotics cops and their attempts to take down a heroin importing kingpin. Popeye Doyle, played with zest and gruff natural charm by Gene Hackman and Buddy Russo played ably by Roy Scheider. On a hunch, they follow Sal Boca, a small time criminal, and his girlfriend home from a nightclub after they spot him throwing money around like confetti. Their suspicions are proved correct and they quickly realize that Sal is involved in a large conspiracy to import heroin from Marseilles and that suave businessman Alain Charnier, a terrific Fernando Rey, is the man behind the French connection.
The film is photographed with a gritty realism, almost documentary in style. Stark black and white credits buttress an opening sequence that is without preamble and pulls you in immediately. Friedkin was a documentary film-maker before moving to features and this shines through in his work. It is perfect for this story however as the true story that lies beneath the French connection is an intriguing one. In reality, the connection provided the majority of the heroin that flooded the streets of New York in the late 60's and early 70's. Indeed, there is a tale that in preparation for the film, the real Doyle and Russo took Friedkin on a trip to a flophouse that was a mere 8 blocks from his apartment.
The character of Popeye Doyle, so perfectly portrayed by Hackman is a landmark in cinema. He is one of the first screen anti-heroes, gruff and profane and at times racist but always devoted to the job, even to his own detriment. Hackman deservedly won the Best Actor Oscar for his performance, which makes the film. It adds to the overall sense of realism, something reinforced by the downbeat ending which suited the film and was typical of the era. It is a great shame that the films that came after this did not stick to this level of realism for it makes for compelling viewing. The film is perhaps best remembered for its car chase scene, in which Popeye chases an overhead train through the streets of New York in the middle of the day. Legend has it that the producers did not have any permits to film this scene and instead just set off one day and Friedkin filmed what occurred. It is thrilling and there is a great feeling of speed as Popeye tries desperately to get his man. This is perhaps the best place to end this review. Enjoy!
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