Tag Archives: Roy Scheider

French Connection II (1975)

On one hand, a sequel to The French Connection is completely logical. Popeye Doyle sees things through, probably more out of psychosis than out of any loyalty to law and order, and so it does make sense that he’d track the kingpin Alain Charnier all the way to Marseilles after the events of the first film. French Connection II begins right there, not long after the first film left off, and when he pulls up in a cab it’s pretty great to see Popeye again. He pulls his hat onto his head and pays the driver, then glares at him when the driver shakes his head and insists he’s owed more. “I’m taking your number, fella — that’s in case you screwed me,” he snarls. Yes: it’s Popeye.

On the other hand, though, a sequel to the perfectly imperfect conclusion of the first film seems simultaneously illogical. The first Connection ends somewhat suddenly when Popeye accidentally shoots a fellow cop, thinking him to be the evasive Charnier (or “Frog One”). Not only is a wishy-washy ending avoided, but Popeye’s character is further complicated by the brevity of his victory. The smarmy sarcastic wave that Popeye gives Frog One on the bridge is bittersweet, and maybe even a karmic contributor to the ultimate conclusion of Connection (in the same way that Hank’s wave to Walt in Breaking Bad represents his own short-lived supremacy).

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Sorcerer (1977)

William Friedkin’s Sorcerer had the unfortunate timing in 1977 of being released concurrently with a movie called Star Wars, which people ended up liking a little bit. Friedkin was hot after releasing The French Connection and The Exorcist earlier in the decade, but Sorcerer ultimately failed at the box office and slipped into relative obscurity in favor of his other movies. This is a shame, because Sorcerer is a monster of a film.

Based on The Wages of Fear, the first third of the film essentially amounts to four separate prologues for four separate characters from Veracruz, Jerusalem, Paris, and New Jersey (one of these things is not like the other). Roy Scheider cashes in on the success of Jaws two years earlier as lead man in Sorcerer (the New Jersey one), but the time spent with each of the characters is intimate and highly involved; the Walon Green script, too, is like a tough steak that tastes good but has to be chewed and wrestled with. It’s difficult to tell throughout this opening act where Sorcerer might turn next.

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