While Popeye Doyle (Ed ONeill) is investigating what appears to be a very simple drug overdose, he becomes involved in international intrigue. The Mosad and various other foreign diplomatic... See full summary »
Black Sunday is the powerful story of a Black September terrorist group attempting to blow up a Goodyear blimp hovering over the Super Bowl stadium with 80,000 people and the president of the United States in attendance.
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>
Doyle's memorable cry of "Mickey Mantle sucks!" during the cold turkey sequence was the source of much trouble for the film makers and their legal department. Producer Robert L. Rosen had to track down Mickey Mantle to obtain his permission for the reference. After a long phone call, Rosen flew out to Mantle's home in Dallas with a print of the film, which was screened for him and his lawyer. When Gene Hackman uttered the line, Mantle surprised Rosen not only by roaring with laughter but also insisting that they watched the rest of the film because both he and his lawyer were enjoying it so much. Mantle later happily signed a release waiver and the line stayed in the film. See more »
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 »
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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