This year’s winter project featuring a classic male actor I am sketchy about is Gene Hackman. Based upon recommendations, I’m starting off with a strong pair that many have remarked were Gene’s best-known or favorite performance.
Competing against The Last Picture Show at the 1972 Oscars, The French Connection won the major awards of the night: Best Picture Philip D’Antoni, Best Actor in a Leading Role Gene Hackman, Best Director William Friedkin, Best Adapted Screenplay Ernest Tidyman, and Best Film Editing Gerald B. Greenberg. Roy Scheider was nominated for Best Supporting Role, but he lost to Ben Johnson (LPS).
I have read that this was a film that set a precedent in police dramas or at least led the charge in portraying cops of dubious morality as the anti-hero. In the 1970s, television shows continued the trend to supply squeaky-clean officers catching the bad guy, but films such as Dirty Harry(1971), Serpico (1973), and The Seven-Ups(1973) show tainted cops ruthlessly taking charge of their urban backdrop. In the case of The French Connection, New York City never looked rawer or more treacherous. In this way, the buddy pair, Popeye (Hackman) and Cloudy (Scheider) fit right in chasing down gangsters, druggies, and deadbeats of the city. 4/5
What stood out:
1. The filming of the ugly alleys, subways, and desecrated buildings of NYC and the beautiful seaside port of Marseille, France was a fine contrast.
2. Roy Scheider’s bubbly performance was his second-best. (All That Jazz, #1)
3. Popeye’s obsession with catching the French kingpin Alain Charnier (Fernando Rey) drew me in and held my attention.
4. The disgusting building where the climax was shot. The echoes, the shadows, and the reflections–you could smell the mold, feel the contaminated, cold air seep into your skin while Popeye sloshed around the debris. What a visceral experience.
5. Based on a true story, it was an intriguing, albeit, dreary story.
The Conversation is a 1974 American mystery thriller film written, produced and directed by Francis Ford Coppola and included a fantastic supporting team by John Cazale, Allen Garfield, Cindy Williams, Frederic Forrest, Harrison Ford, Teri Garr, and Robert Duvall.
Gene Hackman has the reputation for playing characters that were hard-shelled jerks over his career. His voice is icy to listen to, his jaws set, and his characters won’t budge. Gene Hackman does this well, but I prefer his characters when they have a vulnerable side. Gene Hackman was perfect in this role as the surveillance expert, Harry Caul. He can’t help the fact he must live a lonely life, isolated and inadequate around others, unable to commit to friendships or relationships with females. His eyes suggest he was a product of the system, and his dislike for himself bubbles to the surface, and that’s a tricky acting job. 4.5/5.
What stood out:
- Francis Ford Coppola‘s direction. The opening shot of the San Francisco city Union Square with happy citizens soaking up the midday sun, the mime leading your eyes, and the fuzzy conversation between Ann (Cindy Williams) and her lover Mark (Frederic Forrest).
- The ending shot of Harry Caul’s stripped apartment that suggested Caul’s paranoid demise instigated by his own obsessions.
- The jazzy piano score composed and performed by David Shire.
- The stellar supporting cast by everyone. It was great to see Harrison Ford as the young, smug executive. Teri Garr as the probing, sweet lover of Harry and the sad dance in the parking garage by the ambitious floozie Meridith by Elizabeth MacRae. Robert Duvall’s role was small but powerful as the jealous husband, “The Director”. Hotel toilets take on a new, repugnant level in cinema.
- The surprise twist at the end. Francis Ford Coppola’s script was smart and his narrative compact and interesting. I was surprised how much I liked this film.