Two New York cops get involved in a gang war between members of the Yakuza, the Japanese Mafia. They arrest one of their killers and are ordered to escort him back to Japan. In Japan, ... See full summary »
New York narcotics detective Popeye Doyle follows the trail of the French connection smuggling ring to France where he teams up with the gendarmes to hunt down the ringleader. Written by
Keith Loh <email@example.com>
In the beginning of the movie, when Doyle arrives with his suitcases at the dock, a girl in a flowered dress and a boy in a yellow shirt run past him towards his right-hand side. In the next shot, when we see Doyle from the front, the same girl and boy are climbing up on a fence on his left-hand side. See more »
Jimmy 'Popeye' Doyle:
You know, I had a tryout with the Yankees. You know what the Yankees are?
Inspector Henri Barthelemy:
Yes. As in "Yankee go home."
Jimmy 'Popeye' Doyle:
Yeah. NO! No, uh... Uh... no, the Yankee baseball... baseball team. Yeah, I had a tryout with them and... they sent me down to the... the minors. And the poblem... poblem... problem was that... there was a fuckin' kid there, and he was... the fastest bastard, he was fuckin' FAST. And he... he played shortstop at the time, and he... he could hit the ball a fuckin' ton. A fuckin' TON! You...
[...] See more »
An outstanding sequel to Friedkin's celebrated original. Hackman's 'Popeye' Doyle continues his pursuit of Fernando Rey's drug lord Charnier in the latter's native France. Shot on location in Marseille, the film often has a feeling of latter-day spaghetti (onion?!) western with long spans of impenetrable, untitled French. Doyle's attempts to integrate himself personally and professionally into this alien town are as well handled as anything in the film.
The film deals in obsession and addiction. Just as the last film closes with Doyle abandoning reason to continue his pursuit, so this one develops this theme. Gene Hackman's bitter, awkward, tough-but-pitiful performance is the stuff of an Oscar winner who doesn't even know how to spell complacency.
John Frankenheimer does an almost impossible job very well in following Friedkin's visual temperament in support of Hackman. Marseille is filmed ruthlessly, grimy and crumbling. There is a great deal of hand-held work, culminating in extraordinary but judiciously used PoV shots in the final, remarkable chase. It's also an economical film, using unscripted action to advance the narrative. Artfully real but uncontrived, it's a very grown-up action thriller. 8/10
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