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The French Connection (1971)

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A pair of NYC cops in the Narcotics Bureau stumble onto a drug smuggling job with a French connection.

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Writers:

(screenplay), (based on the book by)
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Won 5 Oscars. Another 17 wins & 10 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
...
...
Frédéric de Pasquale ...
Devereaux (as Frederic De Pasquale)
...
Ann Rebbot ...
Marie Charnier
Harold Gary ...
Weinstock
Arlene Farber ...
Angie Boca
Eddie Egan ...
André Ernotte ...
La Valle (as Andre Ernotte)
Sonny Grosso ...
Klein
Benny Marino ...
Lou Boca
...
Chemist (as Pat McDermott)
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Storyline

William Friedkin's gritty police drama portrays two tough New York City cops trying to intercept a huge heroin shipment coming from France. An interesting contrast is established between 'Popeye' Doyle, a short-tempered alcoholic bigot who is nevertheless a hard-working and dedicated police officer, and his nemesis Alain Charnier, a suave and urbane gentleman who is nevertheless a criminal and one of the largest drug suppliers of pure heroin to North America. During the surveillance and eventual bust, Friedkin provides one of the most gripping and memorable car chase sequences ever filmed. Written by Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>

Plot Summary | Plot Synopsis

Taglines:

A $32,000,000 chase turns into the American thriller of the year! See more »


Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

9 October 1971 (USA)  »

Also Known As:

Doyle  »

Box Office

Budget:

$1,800,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)| (Westrex Recording System)

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The French license plate on the 1971 Lincoln Mk III used to smuggle the heroin is 18 LU 13. The real life "French Connection" car, a 1960 Buick Invicta, had French plate 18 LU 75. According to Robin Moore, the Invicta was popular with drug smugglers in the early 1960s because it had a large space under the body behind each front wheel well. Most of the heroin was hidden in these spaces in the French Connection car, but some was hidden under the rocker panels, as depicted in the film. See more »

Goofs

At the police garage (which is a no smoking zone), Cloudy is seen smoking a cigarette while the oil is being removed from the Lincoln. See more »

Quotes

[first lines]
Jimmy 'Popeye' Doyle: Merry Christmas. What's your name, little boy?
Little Boy: Eric.
Jimmy 'Popeye' Doyle: Uh-huh, Eric. What do you want for Christmas Eric? Hmmm?
See more »

Crazy Credits

The 20th-Century Fox logo fades in black and white, dissolves to color, then seamlessly widens from the old square aspect ratio to modern standard film ratio. See more »

Connections

Featured in Best! Movies! Ever!: Chases (2007) See more »

Soundtracks

Jingle Bells
(1857) (uncredited)
Written by James Pierpont
Sung by Gene Hackman and the kids
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
32 years and still relevant
6 February 2003 | by (nyc, USA) – See all my reviews

I first saw The French Connection in the summer of '72 (after it won the Oscar), so it's reputation was fairly well sealed by then. I had seen fair number of 1971 films, including The Hospital, Nicholas and Alexandria, A Clockwork Orange, Shaft, Le Boucher, Dirty Harry. The French Connection was something different though. It seemed to leap off the screen. It gave me a feeling I no longer have when I leave a movie, which is when I stepped out into the street I felt I was still in the movie. Of course, the chase was spectacular, but what I most remember and still enjoy about the movie is the energy. Gene Hackman acted Popeye with his entire body: running, stamping his feet, fighting, pointing, running some more: the porkpie hat was not a meaningless appendage; it was part of him, whether he employed it for drug recovery or slamming it into the concrete. It's a cinematic performance that ranks with Chaplin and Keaton. Then there's the intoxicating mood of grey, dreary winter in New York 1970-71 that puts you into the show. And the editing. Note the cool shot of Doyle spinning out of the phone booth on Broome St. cutting right into the drone of the Brooklyn Bridge at daybreak; or the shots jammed together as Doyle yells at Pierre Nicoli on the departing train, cut to: the motorman's hand cut to: to the suspicious transit cop, cut to: to the closing train doors, etc. And no music to smooth it over! Whenever I see this film it looks like it's still happening.


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