John Frankenheimer’s “French Connection II” (1975) had the inconceivable process of following a massively widespread thriller that endlessly modified the police procedural style.
William Friedkin’s “The French Connection” (1971) wasn’t only a substantial hit. It walked away with Finest Image honors on the Oscars and solidified its star, Gene Hackman, as one of the dependable, effortlessly genuine and hardest working actors.
Making a sequel with out Friedkin appeared silly and doubtlessly disastrous. What Frankenheimer, Hackman and the screenwriters (Alexander Jacobs and Robert and Laurie Dillon) pulled off with the second chapter is a minor film miracle.
4 years have handed because the occasions of the primary movie. New York Metropolis cop Popeye Doyle (Hackman) remains to be infuriated by having did not seize Alain Charnier (Fernando Rey), the drug kingpin who escaped the U.S. on the finish of the unique movie.
When “French Connection II” begins, Doyle has arrived in France, instantly causes hassle and is sizzling on the path of Charnier. The villain now dines at luxurious eating places in broad daylight.
Doyle is paired with a no-nonsense cop (a superb Bernard Fresson), who fails to maintain him in line and working by the e book. When Doyle lastly catches up with Charnier, he’s caught off guard and the unthinkable occurs.
“The French Connection” is untouchable, however Frankenheimer doesn’t simply honor it however matches it by being as equally uncompromised but in addition one thing much more daring. This comply with up is nothing like the unique, takes monumental narrative dangers and manages to increase the chase between Doyle and Charnier into one thing deeper and existential.
Nothing in regards to the sequel appears inevitable or compelled.
“French Connection II” is an incredible sequel and top-of-the-line movies of the Seventies. Within the age the place the director and screenwriter have been king, here’s a character-driven, unpredictable and tough-as-razor-wire thriller.
The second act of the movie is tough, appropriately. We watch as Doyle is crippled by what Charnier does to regulate him, and it’s not a provided that Doyle can escape. Additionally, Doyle’s rehabilitation isn’t proven by means of a fast montage or dealt with in a approach to make us assume he’ll survive.
Hackman has a monologue right here, the “baseball” scene, the place he explains why he grew to become a cop and gave up his hope of changing into a ball participant. In a profession the place Hackman proved he may play completely anybody and all the time make us imagine; his work right here is astonishing.
Ray made for a hissable villain within the authentic, however right here, taking part in Carnier out within the open, having fun with his freedom and making an attempt to regulate Doyle within the vilest means potential, he turns into a lot greater than a heavy.
Due to the emotional stakes and the tough, unsentimental method of the second act, the third act is much more thrilling.
There may be such an extended passage, devoid of motion or assure that issues will end up okay for Doyle. When he’s lastly capable of take motion, each set piece excites.
After I’m requested why the Seventies are thought of one of the best decade ever for cinema, its motion pictures like this that come to thoughts. “French Connection II” is an distinctive sequel, simply top-of-the-line chapter twos of cinema ever made (sure, I’d place it subsequent to “The Godfather, Half II,” “Aliens” and “The Empire Strikes Again” with out hesitation).
Frankenheimer and Hackman prevented doing a straightforward, mainstream cash-in sequel and made a film each bit as down and soiled, in addition to compassionate and enthralling, because the one which got here earlier than it.