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The Connection (1962)

7.3
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Ratings: 7.3/10 from 242 users  
Reviews: 10 user | 16 critic

A director tries to film a group of junkies in Leach's room while they are waiting for Cowboy to bring their heroin connection.

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Cast

Credited cast:
Warren Finnerty ...
Leach
Jerome Raphael ...
Solly
Garry Goodrow ...
Ernie
Jim Anderson ...
Sam
Carl Lee ...
Cowboy
Barbara Winchester ...
Sister Salvation
Henry Proach ...
Harry
...
J. J. Burden (as Roscoe Brown)
William Redfield ...
Jim Dunn
Freddie Redd ...
Piano Player
Jackie McLean ...
Sax player
Larry Richie ...
Drummer
Michael Mattos ...
Bass player
Rest of cast listed alphabetically:
...
Siren
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Storyline

Eight drug addicts are waiting for their connection in a New York apartment belonging to Leach. Jim Dunn, a budding filmmaker, has agreed to pay for the fix if the addicts will allow him to film the connection scene. After the men get their shots, they talk Dunn into trying heroin in order to understand the subject "first hand." He becomes ill and while sleeping, Leach takes an overdose that puts him into a coma. Dunn recovers, with the aid of the connection, and writes off the film as a failure. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

Men Held Captive By the Power Of Drugs

Genres:

Drama

Certificate:

Not Rated
Edit

Details

Country:

Language:

Release Date:

11 December 1996 (France)  »

Also Known As:

Connection  »

Box Office

Budget:

$167,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

See  »
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Did You Know?

Trivia

Roscoe Lee Browne's movie debut. See more »

Quotes

Cowboy: Man, I believe anything that's illegal is illegal because it makes more money for more people that way.
See more »

Connections

Referenced in Inside the Actors Studio: Martin Scorsese (2002) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Cowboys
13 October 2005 | by (Virginia Beach) – See all my reviews

Regular readers of my comments know I study folding, and I suggest that it is a deep concern for many filmmakers going back many decades. Most of my viewing these days comes from reader suggestions.

This is one, and very interesting. Group it with "The Saragossa Manuscript" as an early experiment, probably influential. Crude and obvious, but of historical interest.

I will describe it because it is hard to find.

Ostensibly it is a documentary drama, filmed of then contemporary jazz musicians (man, dig?) in a seedy apartment. They are there for their pooled money to turn into a pooled high, then pooled music. The thing is framed by a device: the film is made by two people, the director and a photographer. During the film, the director has his first hit of heroin, and presumably succumbs to it thereafter. The movie starts with a statement by the photographer that the director has abandoned the project and he (the photographer) has assembled it for us.

In what we call the real world, this is a play about this film-making. So to begin, it is a film about a play (a very obvious play) about a film about a "real" drama. A theory of theater at the time was that such abstraction and acknowledgment of the medium would allow the form of the reality to shine through.

It is the theatrical equivalent of an architectural notion that you can see in the Paris Museum called Pompidou, where all the structure is more than exposed, exposed in a way so obvious it is supposed to be invisible.

You may buy this. I certainly did when I was an architect in this era until I actually designed a building using it.

The difficulties of making this work are enormous.

You can see those problems here. Cowboy is the agent who brings the high. He arrives in pristine white, an articulate black man who used to be a musician and now is a savior. He brings an old woman, a salvation army warrior from 70 years earlier, incidentally 70 years old and worried about her burial.

For this, you need extremely clean images, touchstone dialog (where you jump from pad to pad without muddying yourself), and actors who understand all the folds and can inhabit them all.

This has none of that. These are street performers after the manner of "The Living Theater" which eschewed just the kind of thinking this project demands.

What we end up with is a bunch of actors with empty lives without layers who give us a layered story about a bunch of musicians with empty lives because they left layers behind.

You'll probably want to watch "Hurly Burly" for something like this done well, or this for historical interest.

Ted's Evaluation -- 2 of 3: Has some interesting elements.


6 of 13 people found this review helpful.  Was this review helpful to you?

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