The French Connection

A winner of five Academy Awards including Best Picture, The French Connection is a taught and edgy police thriller starring Gene Hackman in the role that won him the first of his two Oscars. The film is inspired by the book of the same name and blends fact and fiction to bring a major drug smuggling operation to the big screen. Detectives Jimmy ‘Popeye’ Doyle (Hackman) and Buddy ‘Cloudy’ Russo (Roy Scheider) uncover a plot to smuggle a large quantity of heroin from France to the East Coast of the USA and tail leads, battle assassins and fight their bosses in an attempt to bring the traffickers down.

Early scenes criss-cross the Atlantic between New York City and Marseilles where the protagonists are either setting up to smuggle drugs or carrying out street busts. A few of the opening scenes gave me eye strain due to the slightly juddery hand held style of camera work used by Director William Friedkin. Once I was over the initial disorientation that the camera work gave me though, I was able to appreciate the almost documentary style of realism that Friedkin captures. He gets right to the heart of the action with cameras placed in close quarters to the actors when necessary but also stands back at times, delivering long tracking or panning shots as the characters play a game of cat and mouse through the streets of New York.

Enemy of the State

Tony Scott’s 1998 thriller Enemy of the State was the first film I ever bought on DVD. Though that disc has since gone walkabout, I remember going into my local Woolworths to buy a different film (an 18 Certificate whose title I can’t remember) but was told by the lady on the checkout that I didn’t look 18 and had to choose another one. Being around 14 I panicked and grabbed Enemy of the State, attracted by the picture of that guy from The Fresh Prince of Bel Air on the cover. I remember enjoying the film all those years ago and marvelling at how modern it was. Unfortunately it hasn’t aged particularly well.

Will Smith plays D.C. Lawyer Robert Dean who becomes embroiled in a conspiracy and high profile assassination following a chance meeting with an old acquaintance from college. Without knowing it, Dean takes into his possession a video tape containing footage of the murder and is tracked by rogue NSA official Thomas Roberts (Jon Voight). With nowhere else to turn, Dean tracks down a shady communications expert called Brill (Gene Hackman) with the hope that he can clear up the mess he finds himself in.

The Conversation

In between making two of the most heralded films of all time in 1972 and 1974, writer/director Francis Ford Coppola made another film. That film won the Palme d’Or at Cannes and was nominated for three Academy Awards including Best Picture. That film was The Conversation. A taught psychological thriller, The Conversation isn’t as grand in scale or as epic in scope at The Godfather movies by which it is sandwiched but it’s a deeply intriguing look inside the world of audio espionage and the consequences of it. Gene Hackman leads a terrific cast as Harry Caul, a surveillance expert who has second thoughts about handing in his latest recordings for fear that those he has recorded will be killed, a repeat of a previous job which still haunts him years later.

The film opens onto a magnificent scene which forms the basis of the whole movie. Initially shot from high up on a rooftop the camera details a large plaza in which hundreds of people are milling about, talking and eating lunch, people watching or simply passing through. The shot is alive with detail and beautifully constructed but as the camera slowly zooms in you begin to focus your attention on a mime. Eventually the mime starts to copy a man drinking a cup of coffee. That man is Harry Caul (Hackman). Caul is in the plaza spying a young couple who are slowly circling, deep in conversation. Once at ground level the camera cuts to several other angles, showing the other members of Caul’s team hard at work, attempting to record the conversation. I have seen few better opening sequences than the one detailed above. It’s slow to build, intriguing, interesting and opens up several possibilities for how to proceed.

Young Frankenstein

When people look back at the films they remember fondly from their childhood, they often remember them through rose tinted spectacles. When I saw The Lion King last year and rated it 6/10 I was given disapproving looks from those who saw it when they were children. One of the films I remember fondly from my childhood is Young Frankenstein. I saw it several times when I was young as it was one of the few VHS movies my parents owned at the time. I haven’t seen the film for about thirteen or so years and while I remembered lots of it, there was much which I’d forgotten or had gone over my head as a child. I’m able to appreciate the film more as an adult and understand the subtle performance of Marty Feldman, get more of the horror in jokes and laugh at the racier stuff which was once lost on me. Young Frankenstein isn’t as good as I remembered, it’s better.

The film came about after an idea Gene Wilder had while filming Blazing Saddles with Mel Brooks. Wilder thought that it would be funny to create a distant relative of the Frankenstein family who wanted nothing to do with the rest of the family and their infamous experiments. The film was put into production shortly after Saddles wrapped and the plot took from the early Frankenstein movies of the 1930s as well as borrowed affectionately from the horror genre and classic comedy. Dr. Fredrick Frankenstein (Wilder) is a brilliant American physician/lecturer who discovers that he has inherited the family’s old world estate. He travels to Transylvania where his grandfather’s experiments get the better of his curious mind.

The Royal Tenenbaums

I first saw this film when I was about sixteen on one of my frequent trips to the cinema with friends. When one of them told me about it I thought it sounded awful. I was used to seeing action and comedy films on a Friday night and didn’t want to sit through a film about some family and an old man dying. In the end the film completely shocked me and helped to introduce me to the joys of cinema, seeing passed the Friday night popcorn movies to which I was accustomed. It was also the first of many Wes Anderson films that I fell in love with. I often site Martin Scorsese’s Taxi Driver as being the film which opened my eyes to cinema but thinking about it now, this film did the same thing, albeit to a lesser extent, two years earlier.

Royal Tenenbaum (Gene Hackman) is thrown out of his house by his wife (Anjelica Houston) before their three genius children (Ben Stiller, Luke Wilson, Gwyneth Paltrow) reach their teens. This has a far reaching impact on all of their lives and none of the three grow up to fully reach their potential. Playwrite Margot (Paltrow) stops writing, Tennis champion Richie (Wilson) retires ages twenty-six after a breakdown and business guru Chas (Stiller) becomes overly protective of his own children following the untimely death of his wife. After years of being out of the picture, Royal decides he wants to become reacquainted with his quirky children but ends up going about it in all the wrong ways.

Unforgiven

Clint Eastwood directs, produces and stars in this 1992 Western which won four Oscars including Best Picture and Best Director. While I personally don’t think it is a great film it is certainly a good film. Eastwood plays William Munny, an ex gunslinger who has put his past behind him to raise his two young children singlehandedly after the death of his wife. Meanwhile in a small town in Wyoming, a young prostitute is attacked by a drunken customer. Her fellow prostitutes raise $1,000 as a reward for the person who can kill her attacker. Eastwood is approached by the ‘Schofield Kid’, played by Jaimz Woolvett, who asks Munny to join him on one last ride out. Munny also persuades his old partner Ned Logan, played by Morgan Freeman, to accompany him.

When I think Cowboy, I think Clint Eastwood

The strength of the film lies in Eastwood’s directing and in the superb acting. Eastwood creates a tense and claustrophobic atmosphere despite the film being set in mostly large open spaces. Eastwood plays Munny with great precision. His looks could kill and his rough voice and tired appearance create a feeling that he is too old for killing but he is capable of turning these perceptions on their head in a matter of seconds with his ability to quick-draw and shoot down anyone who stands in his way. Gene Hackman is also excellent as the Sherriff whose job it is to run Munny and his gang out of town. He is arrogant and sure of himself despite flaws which become apparent as the film unfolds. Frances Fisher is strong as the Madame prostitute behind the $1,000 bounty whereas Morgan Freeman just appears to be along for the ride.

Beautiful title shot

Where I feel the film is let down is its length. At 131 minutes long, it feels much longer. I also felt that the character of ‘English Bob’ played by the late Richard Harris was unnecessary and detracted from the main story of the film.

While Unforgiven is now considered to be a classic of the Western genre and although I liked it, I didn’t like it as much as most other people seem to. 

6/10