July 16, 2025

The French Connection (1974) - William Friedkin - Best Of Cinematic Flashback Podcast

The French Connection (1974) - William Friedkin - Best Of Cinematic Flashback Podcast
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The French Connection (1974) - William Friedkin - Best Of Cinematic Flashback Podcast
The French Connection (1974) - William Friedkin - Best Of Cinematic Flashback Podcast
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Season 1

This week, we’re tailing Popeye Doyle through the gritty streets of 1970s New York. It’s a Best Of Episode while Chuck and Matt take a quick summer vacation. This week on The Cinematic Flashback Podcast, we rewind all the way back to our very first episode—The French Connection (1971), directed by William Friedkin and starring Gene Hackman and Roy Scheider. Inspired by an actual case, this Oscar-winning crime thriller redefined the police procedural with its raw, documentary-style realism and legendary car chase. What We Talk About

  • Gene Hackman’s iconic performance as Popeye Doyle
  • The revolutionary, seat-gripping car chase that still sets the standard
  • How Friedkin’s visual style captured the gritty underbelly of New York City
  • Why the film’s stark realism and anti-hero cop hit so hard in the early 1970s
  • The abrupt ending and what it meant for ‘70s audiences
New This Episode Matt shares first-hand memories of seeing The French Connection era unfold in real time—and why its depiction of law enforcement felt so jarring next to TV cops like Dragnet and Adam-12. Why Listen? If you’re interested in how a gritty little movie flipped the cop genre on its head, influenced everything from Serpico to The Wire, and still sparks debate, this one’s a must-listen. Connect With Us Visit our website for episodes, updates, and contact info: www.cinematicflashback.com Credits Music by: “1975” – Josh Kirsch / Media Right Productions All video clips featured in this podcast are the property of their respective owners and are used under fair use for commentary, criticism, and analysis. No copyright infringement is intended.

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WEBVTT

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Hey, movie lovers, you're listening to a best of episode

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of Cinematic Flashback. Matt and I are both taking a

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little summer break, so while we're out, we're throwing it

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all the way back to our very first episode, The

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French Connection, starring Gene Hackman and Roy Scheider. We'll be

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back with a brand new episode on August fourteenth, so

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mark your calendars and join us then. But for now,

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enjoy this flashback to where it all began.

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Welcome to the Cinematic Flashback Podcast. Get ready to hop

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into the wayback machine as we journey through the wild, bold,

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and unforgettable films of the nineteen seventies. Each episode will

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break down a class if we're not so classic movie

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with a fun, fresh approach. We'll explore the who's who

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of each film, dive into the premise and the plot,

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see how it performed then and now, and wrap.

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It up with did it group through decades or lose

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its feet? I am your Chuck Bryan, and with me

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today is Matt Sargent. Matt, thank you so much for

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being here. Do you still pick your feet and poughkeepsie?

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The classic line from a classic movie? For sure? I

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am happy to join you on this journey, and I

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thought this would be a great exercise to get together

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with you and we can talk about some movies that

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were seventies. Were when I was ten in nineteen seventy one,

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so from ten to nineteen wow. I graduated from high

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school in nineteen eighty. The seventies are my years for

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a lot of impressionable movies, and I saw quite a

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bit when I was young. I'm excited about this whole journey.

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In seventy nine, I think I was going at this

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sixth grade. For me, a lot of the movies of

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the seventies have always been the big tent pole movies,

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Star Wars, Star Trek, Godfather, Josh. I'm really looking forward

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to finding films that I'm not as familiar with, but

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everyone says you should see, Matt.

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What are we watching tonight?

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We are going to be talking about the French connection. Hi,

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popeyees here goet, hands on your heads, Get off the barn,

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get on the wall.

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What's my name?

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Popeye? Doyle? If he doesn't like you, he'll take you

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a pot and it's all perfectly legal because Doyle fights dirty.

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If you want to take a ride there, fat man

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and plays rough.

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Anybody want to milkshake?

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Doyle is bad news, but he's a good cop. We're

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going there on Mine came out in nineteen seventy one.

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It is a crime thriller that was really unlike anything

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that had come before. It was a very early film

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by William Friedkin, and it's based on a true story.

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The stars are actors that went on to have amazing

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careers Roy Scheider and playing Popeye Doyle was Deane Hackman,

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so it's not his first film as I understand, but

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it was a seminal film for him, as I think

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many people recognize.

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So my introduction to both of those actors, Roy Scheider

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was obviously Jaws two because I was way too young

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to see Jaws when it came out. And for Gene Hackman,

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he was Lex Luthor in Superman the movie. So imagine

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my surprise watching this film and trying to put Gene

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Hackman's Lex Luthor into Jimmy Popeye Doyle.

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Yeah, So that's funny. Our different perspectives on time. Roy

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Schider was definitely the first I had interaction with him

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was Jaws, the actual original Jaws, which I actually saw

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in a movie theater. Wow. Yeah, it was amazing. And

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Gene Hackman, I have a hard time remembering. I've seen

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so many movies with him in them, and they were

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at various different times, and I don't think there were

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any kind of chronological order, like I may have seen

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him in a movie from later before I actually really

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sat down and watched The French Connection. I also think

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I remember my parents not allowing me to go with

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the family to go see it. Oh really, why is that?

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Oh there was rated R or so it was too

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violent appropriate. Yeah, they took me to see Chinatown. Oh wow, which, yeah,

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if you've ever seen Chatta Down, there's a lot of violence.

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You're not going to say French Connection, but Chinatown. But

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let's get back to the Fred's Connection.

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I wanted to set some context for the movie, because

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context is king. It's really hard to remember what the

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world was like. You might not have been there when

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this film came out. I looked up some trivia. Did

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you know that the first Starbucks open at Pike Place

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Market in Seattle, Washington in nineteen seventy one?

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That's amazing. I thought it was much younger than that.

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I don't know what they're cuff of coffee, cost at

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the time.

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We're both application developers.

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We work for a consulting company and we live and

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die by email. Today Ray Tomlinson invented internet based email.

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That's pretty funny.

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And what do you think the number one show would

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have been on TV at the time?

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If I was to think back, it was All in

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the Family. But that makes a lot of sense. It

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was a very popular ch show. I remember it, so

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it was definitely appointment style TV. But we did watch

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All in the Family, and I watched All in the

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Family and reruns for a long time.

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My wife and I we grew up in a house

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where our parents both watched it, and to this day

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we can sing the entire opening song.

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Those were the days.

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Also in that top ten show was a police program

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called Adam twelve.

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It's still on me TV quite a bit.

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Something I wanted to come back to as we get

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into the French connection is how the sanitized.

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Version of television police shows.

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How they differ from what movie audiences were going to see.

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With the French connection.

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Yeah, that's absolutely true. I think it's good for our

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listeners to try to put themselves back in time a

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little bit and try to understand what was life like

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when this movie hit the scene, life was portrayed on

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the screen as Bewitched and May Burry RFD. But it

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wasn't realistic. This isn't what really happened with police work all.

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Pretty much a picturesque, sanitized view that didn't match with reality.

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But sure, at the time, it was entertainment and that's

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what people were looking for.

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Sure.

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I remember my mom was a big fan of a

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show called Dragnet, which was a little more gritty, but

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it was definitely sanitized. So the idea that you went

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into the movie theater and saw this movie, which when

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we look at it now, yeah, that's pretty probably pretty

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realistic or nearly realistic from what our experience is now.

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But back then it was shocking. Oh yeah. I think

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people were really shocked, and there was a lot of

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controversy over it as well. They thought it was a

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terrible thing. There are other people saying it's a cinematic masterpiece,

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that it was the first of a new genre of

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filmmaking and films that would change things, and I think

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the latter proved to be true. It was a turning

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point for how police were depicted, how movies were made,

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how soundtracks interacted with the movies before. We had wonderful

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soundtrack and it was a significant part of the movie,

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but it wasn't intended to emote a sense of foreboding

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or stress on the audience, where I think when the

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French connection absolutely is.

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One of the things that really attracted me about movies

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of the seventies is that there was a much.

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Different experience going to the movies.

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Today, you set through multiple advertisements while you're waiting for.

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The previews to begin.

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They call it a pregame show, and it used to

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be you would go and sit down, and probably by

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the eighties they may have started playing a trivia slide,

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but for the most part, it was the silent, the

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lights went down, the curtains came up. It was just

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a completely different experience.

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Oh, I have a funny story about that. I'm old

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enough to remember when you would go to a movie

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and the preview for an PG rated movie was absolutely

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R rated. So nowadays previews are all like PG G

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or the same as the movie you're going to see.

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You had a maybe two or three previews leaders or

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what do they call them, trailers? Trailers, sorry not leaders,

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trailers for upcoming movies, but that was basically it. Nowadays

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there's at least forty minutes of this.

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It's a good thirty to forty minutes for now.

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One of the things, of course I do, is I

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like being able to pick my chair and then I

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know I can come about thirty minutes after the advertised time.

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So well, we live really close to the movie theater,

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literally we can. I can look and say, oh, the

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movie started twenty minutes ago. Is no problem.

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By a ticket week, we can still see definitely a

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different time. Yeah, we already talked about Jane Hackman and

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Roy Scheider, both detectives. Roy Scheider actually was convinced that

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he had lost this part because he stormed out of

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the audition, but that was the reason why he was cast.

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That's perfect. That's so funny because that makes a lot

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of sense.

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Fernando Ray played Lame Charnier, Tony lo Bianco played sal Boca.

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Bill Hickman played the federal agent, and the other movie

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that he was in that I knew of was Bullet

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from nineteen sixty eight, and then playing the villainous Montiere

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Monsieur Pierre was Marcel Bozoufi. William Freakin was the director,

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and the other movie that I knew him from was

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from the Exorcist. The screenwriter was Ernest Teideman, the composer

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was don Ellis Owen. Rosaman was a cinematographer, and Barry

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Malcolm was the editor.

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This film was nominated.

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For multiple awards, and it won the Academy for both

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Best Picture, Best Director, Best Actor, and Best Adapted Screenplay.

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One of the things you'll remark when you watch movie

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is it really starts out quite slow. Yeah, very normal.

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You're in there, basically in some French city I think

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you later find out it's Marseille or something. I think

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it's Marseille, and you watch basically you start to see

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a policeman doing some police work and following someone, and

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that progresses and you meet some of the main characters.

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So you see this a Laine Sharnier. I wouldn't call

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him a heavy because he's very suave, but you find

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out that he came out of the poor you know,

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the what do you call it, the loading docks like his.

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You see a scene where his girlfriend is obviously buying

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him clothes and he thanks her for buying more clothes

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and making him look sophisticated. Not like right off the docks,

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I think, is what he says. And that's important because

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you realize this guy is he looks a dandy, but

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he definitely is not a dandy. And then you also

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meet his sort of sidekick, Heavy maybe you'd call him

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the Muscle, and the interaction with the French detective, which ends,

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you know, badly for the French detective. And of course

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it's classic French movie making because a baguette makes an appearance.

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The Heavy his name was Rousseau, right, but the minutes

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of the movie, right, he's already killing this detection.

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Yeah, he kills somebody with basically no hesitation at all.

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And then Elaine and him later talk about it and

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there to some extent they're like, it had to be done.

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It's had to be done. He was getting too close.

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And what you find is that these are the guys

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that have some drugs that they want to be able

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to get into the United States, to be able to distribute.

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And this whole plot, by the way, this is a

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lot of this plot is what you pick up as

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you go on at.

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The very beginning, and never something is happening.

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They're bringing in this actor here, Devereaux you start to

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get the feeling that he's going to be the distraction

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for bringing whatever the drugs are into the United States.

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Yeah, at this point in the movie is you're not

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really sure what they're going to use this actor for.

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But it's funny they show this actor and they show

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that he's agreed to work with them, although the muscle

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guy really doesn't like it. And one of the things

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that you see is they're cruising around France in a

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giant American made car.

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It's this brown car.

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It's out of place. Yes, so it immediately draws your eye.

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If you follow the car, you follow the drugs.

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And then the titles tell us we're in Brooklyn.

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There's parts of New York when it's under the neon lights,

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it looks so romantic. But if it's not at night

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and it's not lit and you're seeing it for what

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it is, it's a dump. It's so dirty. Even the

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grain of the film just brings that out and draws

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so much attention to New York.

240
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I have to tell you that a lot of New

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York was very rough and very bad. You know, my

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parents wouldn't even take us there. Up there, my wife

243
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dad grew up in Jackson Heights and very similar to

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the neighborhoods that are depicted in this movie, but on

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the other side of the city, but unkempt and dirty,

246
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and you had the unions doing the trash and they

247
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may or may not have picked it up and broken

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down buildings that clearly real estate wasn't where it is nowadays,

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where you an empty lot with a semi broken down

250
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building just exists in New York. Now, it's pretty gross.

251
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There's some pretty nasty, interesting places, and I think the

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filmmaker did a good job of trying to capture that

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and show and we get there. We're in Brooklyn and

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we're meeting the protagonists essentially besides the bad guys, we're

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meeting sensively the good guys, in this case, the good guys.

256
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And I'm going to put this in air quotes because

257
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I don't think the main character is necessarily a good guy.

258
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So I'll argue that with you, but go ahead.

259
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He's the character that we're with.

260
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So outside of this bar, you see a Santa Claus

261
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who is Jimmy Popeye Doyle selling hot dogs is Buddy Russo.

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So the guy dressed up Popeye dressed up as Santa

263
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Claus is real close to where this bar is and

264
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he can see into the bar and Roy Scheider's character

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is out serving a hot he's actually selling a hot

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dog to some guy. And as soon as Popey Doyle

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00:13:52.759 --> 00:13:55.080
character sees this guy that they're trying to get and

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he rings the bell and immediately they both start to

269
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go in and a Roy Scheider character goes right into

270
00:14:00.679 --> 00:14:03.399
the bar, takes off his apron and basically try to

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get this guy. Unfortunately, they're in the crowded bar, and

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the guy makes it out and there's a foot race,

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but before the foot race starts, he pulls a knife

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and he cuts the Roy Schider character on the arm.

275
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And I think part of this whole very At the

276
00:14:19.639 --> 00:14:23.600
end of this, they're very excited. They're very angry because

277
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they got knifed, and they know the guy knows them.

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That's the other thing. He knows them that it's clear

279
00:14:31.039 --> 00:14:35.080
during this interrogation that he has had run ins possibly

280
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with them before, and then the classic during this interrogation,

281
00:14:38.720 --> 00:14:40.559
it's it's pretty rough. They catch him and then they

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drag him to an empty lot and they are holding

283
00:14:44.360 --> 00:14:46.159
up up against the wall and really roughing them up

284
00:14:46.240 --> 00:14:48.279
or trying to get this information out of him, and

285
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that's when we have this classic interaction between the Roy

286
00:14:51.279 --> 00:14:56.360
Scheider character asking normal questions and pop Eye Doyle asking

287
00:14:56.440 --> 00:15:01.320
these crazy questions about picking your feet and which is

288
00:15:01.559 --> 00:15:05.039
just meant to throw people off. And it's a little

289
00:15:05.039 --> 00:15:07.919
bit weird because you're like, what is he doing in us?

290
00:15:07.960 --> 00:15:10.559
As watching the scenes, We're not the person being roughed up.

291
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We didn't just have a foot race. It would be

292
00:15:12.360 --> 00:15:15.039
very disconcerting to have this guy asking you about going

293
00:15:15.039 --> 00:15:17.480
to Poughkeepsie and maybe you had been there, and maybe

294
00:15:17.480 --> 00:15:19.840
you had been there and maybe some bad happened when

295
00:15:19.840 --> 00:15:21.759
you were there. You immediately start to think about all

296
00:15:21.799 --> 00:15:23.519
the bad things. And then this other person asked you

297
00:15:23.519 --> 00:15:25.879
your question and you're like, well, that's nothing happened there.

298
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I know what's happening here.

299
00:15:26.759 --> 00:15:27.679
I can answer that question.

300
00:15:27.799 --> 00:15:30.639
They almost get the information they seek, which is nobody

301
00:15:30.720 --> 00:15:31.639
has any drugs.

302
00:15:31.759 --> 00:15:35.879
But it is starting to establish this fact that the stuff.

303
00:15:35.600 --> 00:15:39.440
That people are holding is really very small potatoes, if

304
00:15:39.440 --> 00:15:41.759
you will, right, And that's been going on for some time.

305
00:15:42.039 --> 00:15:45.840
So one of the things that this scene establishes is

306
00:15:46.240 --> 00:15:50.000
not only does it establish the way in which William

307
00:15:50.039 --> 00:15:53.559
Freedkin is going to film this movie. It is very

308
00:15:53.679 --> 00:15:58.799
much It has that handheld almost documentary style. There's a

309
00:15:58.840 --> 00:16:01.519
lot of long time and then they bring it in

310
00:16:01.679 --> 00:16:05.840
close and it has that feel throughout the entire movie.

311
00:16:06.039 --> 00:16:08.120
It gives the film for similitude.

312
00:16:08.320 --> 00:16:11.000
The visual style is one of the most distinguishing features.

313
00:16:11.159 --> 00:16:13.600
Free can use the handheld camera to create a raw,

314
00:16:13.679 --> 00:16:18.840
almost documentary like feel that really immersed the audiences in

315
00:16:18.919 --> 00:16:22.159
the underbelly of nineteen seventies New York. That's absolutely what

316
00:16:22.240 --> 00:16:24.240
you get from that. And then a shot, as we

317
00:16:24.240 --> 00:16:26.799
were talking about before, in location in the city's rough,

318
00:16:27.200 --> 00:16:30.720
some rough areas, right, that's where they shot. It's contrasted

319
00:16:30.879 --> 00:16:34.639
sort of the polished crime thrillers of previous decades, you know,

320
00:16:35.879 --> 00:16:40.320
fancy hotels and everything like that. And clearly we know

321
00:16:40.600 --> 00:16:43.200
from looking back, because we have the leisure of looking

322
00:16:43.200 --> 00:16:46.840
back from this time, that it impacted tons of different

323
00:16:46.840 --> 00:16:51.000
movies to get the same sort of documentary style kind

324
00:16:51.000 --> 00:16:52.039
of authenticities.

325
00:16:52.240 --> 00:16:54.120
I think of like right off the bat, I think

326
00:16:54.159 --> 00:16:57.759
of Taxi Driver. It's again, it's another New York film.

327
00:16:58.000 --> 00:17:04.240
It's very gritty, cir and not so much like the

328
00:17:04.279 --> 00:17:07.519
gritty parts but Dirty Harry had some real It came

329
00:17:07.559 --> 00:17:11.680
out in the same year, but it's certainly had that

330
00:17:11.759 --> 00:17:16.279
same kind of hard boiled, rougher side of police.

331
00:17:16.559 --> 00:17:18.200
It's the West Coast version.

332
00:17:18.319 --> 00:17:20.519
They pack it up there at the and Popeye doile

333
00:17:20.519 --> 00:17:22.799
getting ready to leave, and he's at the door. He's

334
00:17:22.799 --> 00:17:24.920
about to go out the door and he stops and

335
00:17:24.960 --> 00:17:27.160
he's waiting for his partner to come out. His partners

336
00:17:27.160 --> 00:17:29.160
are going to go home, So I'm going home. Buy

337
00:17:29.200 --> 00:17:30.359
you a drink. Yeah, I'm good to be.

338
00:17:31.039 --> 00:17:31.839
They go to a bar.

339
00:17:32.039 --> 00:17:36.319
That's where the payoffs starts, because you see the characters

340
00:17:36.319 --> 00:17:38.279
that make up the people that are trying to do

341
00:17:38.319 --> 00:17:38.960
the drug deal.

342
00:17:39.200 --> 00:17:41.880
We're introduced to one of the best songs I've heard

343
00:17:41.960 --> 00:17:46.039
this month. Popeye goes into this bar. He is always looking,

344
00:17:46.319 --> 00:17:49.880
he's always on duty, he's never really at rest.

345
00:17:50.000 --> 00:17:51.599
But he's not just having a drink, no.

346
00:17:51.799 --> 00:17:55.359
He In fact, he notices two known junk connections at

347
00:17:55.440 --> 00:17:58.920
a table and there's this one stranger that he doesn't

348
00:17:58.960 --> 00:18:01.880
know who's throwing a lot of cash around. And this

349
00:18:01.920 --> 00:18:04.920
turns out to be sal Boca and his wife, and

350
00:18:05.039 --> 00:18:09.400
they are the ones who are working with Elaine to

351
00:18:09.720 --> 00:18:12.240
get the drugs so that they try and get the

352
00:18:12.319 --> 00:18:13.920
drugs to be able to distribute it.

353
00:18:14.079 --> 00:18:18.079
They're the middlemen and the deal. Essentially, they're the people

354
00:18:18.119 --> 00:18:20.440
in New York that are going to hook up Elaine

355
00:18:20.480 --> 00:18:25.200
and his supply with the Underworld distributors. They're the people

356
00:18:25.200 --> 00:18:27.359
in New York that are going to hook up Elaine

357
00:18:27.400 --> 00:18:31.359
and his supply with the Underworld distributors. And they are

358
00:18:31.480 --> 00:18:34.640
new at this, very new. This is their big break.

359
00:18:34.799 --> 00:18:37.720
Sal Boca, to his credit, he did rob Tiffany's in

360
00:18:37.759 --> 00:18:38.440
broad daylight.

361
00:18:38.640 --> 00:18:41.160
I thought maybe he was connected or something.

362
00:18:41.200 --> 00:18:46.279
But we get into the first of several sequences where

363
00:18:46.480 --> 00:18:50.240
Popeye and Russo are tailing the suspects.

364
00:18:50.480 --> 00:18:52.720
They don't even know who he is a follow them

365
00:18:52.920 --> 00:18:56.559
and ultimately follow them back to their sandwich shop, right,

366
00:18:57.000 --> 00:18:59.559
which is hilarious because she goes in with a giant

367
00:18:59.680 --> 00:19:02.559
haired you with the thing over the top, and the

368
00:19:02.599 --> 00:19:04.880
next time you see her she's holding it in her hand,

369
00:19:04.920 --> 00:19:09.200
and she's a dark haired American woman. Lovely really as is,

370
00:19:09.240 --> 00:19:12.920
but without the big air. It's so funny. And there's

371
00:19:12.960 --> 00:19:15.039
a similar thing I want to point out with that

372
00:19:15.279 --> 00:19:17.960
is that they switch their cars about as much as

373
00:19:18.000 --> 00:19:20.920
they're switching her hair, So it was one of those

374
00:19:20.960 --> 00:19:24.119
funny kind of coincidences, like they're switching to a different

375
00:19:24.119 --> 00:19:26.680
car and then now she doesn't have her hair anymore.

376
00:19:27.079 --> 00:19:29.799
So they clearly are trying to throw anybody off, but

377
00:19:29.839 --> 00:19:30.799
they're terrible at it.

378
00:19:31.039 --> 00:19:34.880
Oh yeah, they're one hundred percent trying to cover their

379
00:19:34.920 --> 00:19:38.119
tracks because they know that they're starting on this the

380
00:19:38.160 --> 00:19:40.480
beginning of the story of making this drug deal. So

381
00:19:41.119 --> 00:19:45.400
during this time they also learn of one other character,

382
00:19:45.599 --> 00:19:51.839
Joel Weinstock. Now Joel is the lawyer slash money guy

383
00:19:52.240 --> 00:19:55.559
who is going to finance Sal to be able to

384
00:19:55.640 --> 00:19:59.000
get the drugs. And once they find out, once they

385
00:19:59.000 --> 00:20:02.079
make the connection with Sal, Jimmy goes to the captain

386
00:20:02.279 --> 00:20:04.400
and they get but the court order so that they

387
00:20:04.400 --> 00:20:07.799
can wiretap the phones and they can start listening to

388
00:20:08.000 --> 00:20:11.519
them on their wire taps, and that's where we're introduced

389
00:20:11.519 --> 00:20:12.200
to the two.

390
00:20:12.079 --> 00:20:14.799
Federal agents Muldrig and Climb.

391
00:20:15.039 --> 00:20:19.279
Mauldrig there's some beef between him and Popeye due to

392
00:20:19.640 --> 00:20:23.559
an earlier case that they had where another cop had

393
00:20:23.559 --> 00:20:27.519
gotten killed. Maldrig keeps digging on Popeye about getting this

394
00:20:27.640 --> 00:20:28.559
other person killed.

395
00:20:28.720 --> 00:20:29.400
On stakeout.

396
00:20:29.400 --> 00:20:33.240
They're listening in on Sale's phone conversations with the wire

397
00:20:33.319 --> 00:20:36.480
tap when suddenly there's a French accent on the end

398
00:20:36.519 --> 00:20:37.400
of one of the phones.

399
00:20:38.039 --> 00:20:41.920
Elaine is asking Bogra to meet him at the hotel.

400
00:20:41.960 --> 00:20:43.559
They're all tailing Boca.

401
00:20:43.640 --> 00:20:46.720
The way they filmed it clearly had a strong influence

402
00:20:46.880 --> 00:20:51.000
real police, because they showed how the real police work

403
00:20:51.359 --> 00:20:53.480
and how they hand off and they have a phone

404
00:20:53.599 --> 00:20:56.880
and they have a radio phone. They're talking and like okay,

405
00:20:57.119 --> 00:20:59.039
yeah he just went by. Okay, I'm going to get

406
00:20:59.079 --> 00:21:01.400
I'm on it. We had to turn off they saw

407
00:21:01.440 --> 00:21:03.519
us or they made us. So there was a lot

408
00:21:03.559 --> 00:21:08.559
of that very realistic following and how incredibly important they

409
00:21:08.599 --> 00:21:10.759
were because they were trying to find out where things

410
00:21:10.799 --> 00:21:13.440
were and what was going on, and it's literally the

411
00:21:13.480 --> 00:21:16.200
only tool they had. Clearly, this is not the age

412
00:21:16.200 --> 00:21:18.759
of cell phones and that sort of thing where everybody

413
00:21:18.839 --> 00:21:21.680
does everything by sending a message. They had to go

414
00:21:21.720 --> 00:21:24.200
to where they were going to go, and so tailing

415
00:21:24.480 --> 00:21:27.640
was the way you figured out what crime they were

416
00:21:27.680 --> 00:21:29.279
going to do and how they're going to do it.

417
00:21:29.440 --> 00:21:33.160
And consequently, there's a lot of times when there's little

418
00:21:33.160 --> 00:21:35.039
to no conversation or dialogue.

419
00:21:35.079 --> 00:21:36.279
Yeah, I was going to say that. It's one of

420
00:21:36.319 --> 00:21:39.279
the things that's marked in this movie to me is

421
00:21:39.359 --> 00:21:43.359
how little conversation, how little dialogue there is, And there's

422
00:21:43.440 --> 00:21:47.519
whole minutes that go by where they're just doing these

423
00:21:47.559 --> 00:21:50.160
tailings and trying to figure stuff out. And as a

424
00:21:50.200 --> 00:21:53.039
person watching the movie, you're not given a lot of

425
00:21:53.119 --> 00:21:55.799
exposition to figure out what's happening. It's really on you

426
00:21:55.880 --> 00:21:56.759
to figure out why.

427
00:21:56.680 --> 00:21:59.640
Are they falling? Oh, okay, this is why they're following.

428
00:22:00.039 --> 00:22:02.160
You're really in the dark for a good part of it.

429
00:22:02.200 --> 00:22:03.839
In my opinion, there.

430
00:22:03.680 --> 00:22:06.480
Are two scenes in this film that I think are

431
00:22:06.640 --> 00:22:07.519
just masterful.

432
00:22:07.640 --> 00:22:08.680
Sal Boca looking.

433
00:22:08.559 --> 00:22:11.519
At getting a profit of thirty two million dollars once

434
00:22:11.559 --> 00:22:14.920
it comes off the street. However, Weinstock is a little

435
00:22:14.960 --> 00:22:17.519
bit nervous. He wants to wait till the end of

436
00:22:17.559 --> 00:22:20.759
the week to make this deal, so they're going to

437
00:22:20.799 --> 00:22:23.920
go meet in Washington, d C. Because of all the

438
00:22:23.960 --> 00:22:27.079
heat that's on it. Lane comes out of his hotel.

439
00:22:27.319 --> 00:22:32.279
The two federal agents never see Frog one leave the hotel.

440
00:22:32.559 --> 00:22:34.200
This is where Popeye is coming up.

441
00:22:34.559 --> 00:22:36.960
And also Popeye trying to get to the phone to

442
00:22:37.039 --> 00:22:39.480
call the federal agents because at one point he gets

443
00:22:39.519 --> 00:22:42.519
into a phone box to tell him I'm trailing him,

444
00:22:42.559 --> 00:22:44.039
and they're like, no, he's still in a hotel.

445
00:22:44.119 --> 00:22:47.519
He said, no, he's right here on the platform. And

446
00:22:47.839 --> 00:22:50.720
you've seen this done so many times since then, where

447
00:22:50.960 --> 00:22:54.039
one person gets on the train, the other person steps.

448
00:22:53.720 --> 00:22:55.759
Off of it, and then he goes back on.

449
00:22:55.880 --> 00:22:57.640
Right, it's the other person and they're trying to time

450
00:22:57.759 --> 00:22:59.759
the doors closed.

451
00:23:00.119 --> 00:23:03.240
I think it was so funny because that scene progresses

452
00:23:03.279 --> 00:23:07.400
from pretending to be totally innocuous, like he jumps off

453
00:23:07.440 --> 00:23:09.799
the train and throws some trash away, yes, and then

454
00:23:09.920 --> 00:23:12.000
Popeye has to jump off the train, and then it

455
00:23:12.200 --> 00:23:15.160
starts to get obvious that this is not innocuous.

456
00:23:15.480 --> 00:23:19.480
He is definitely following me. Unfortunately for Popeye, he loses it.

457
00:23:19.680 --> 00:23:23.880
He loses this round, and Elaine is on the train

458
00:23:24.039 --> 00:23:27.319
and is pulling away, and as Elaine goes.

459
00:23:27.119 --> 00:23:29.400
By Popeye, he just waves at him.

460
00:23:29.720 --> 00:23:32.319
Yeah really just his fingers are moving like he's saying

461
00:23:32.359 --> 00:23:33.759
bye bye, So off he goes.

462
00:23:33.880 --> 00:23:35.799
That was one of my favorite scenes.

463
00:23:36.079 --> 00:23:39.960
The funny thing is there's a just fixation between Elaine's

464
00:23:40.200 --> 00:23:44.519
swave and deb in air very put together his trim beard,

465
00:23:45.000 --> 00:23:47.119
he's very neat, and the last thing he does is

466
00:23:47.160 --> 00:23:49.559
he sticks his umbrella through and opens.

467
00:23:49.240 --> 00:23:51.279
The door, gets out, and then pop Eye.

468
00:23:52.119 --> 00:23:54.880
It was just it was very well done. But anyway,

469
00:23:55.920 --> 00:23:58.200
I do want to talk. You said before you were like,

470
00:23:58.359 --> 00:24:01.559
he's Popeye's like a bad eye to some extent, I'll

471
00:24:01.640 --> 00:24:05.160
argue that a little bit. But he's a riven guy. Yeah.

472
00:24:05.359 --> 00:24:08.039
What I was meaning more by that is he's much

473
00:24:08.039 --> 00:24:09.039
more of an anti hero.

474
00:24:09.920 --> 00:24:13.000
Yeah, he's for sure an anti to some extent, he's

475
00:24:13.039 --> 00:24:15.920
an anti heriot. He's clearly a guy who's probably had

476
00:24:17.000 --> 00:24:20.759
if he was ever married, it ended in disaster, right,

477
00:24:20.839 --> 00:24:24.640
because he is a one track, one trick pony, one

478
00:24:24.680 --> 00:24:29.079
track mind. He is nothing but working and that's what

479
00:24:29.240 --> 00:24:29.880
drives him.

480
00:24:29.880 --> 00:24:29.960
Man.

481
00:24:30.079 --> 00:24:34.880
Yeah, they maybe trod on this guy, this witnesses rights,

482
00:24:34.920 --> 00:24:36.920
but honestly, at the one point, they go into a

483
00:24:36.960 --> 00:24:38.839
bar and they rough up a bunch of people and

484
00:24:39.200 --> 00:24:42.119
they've all got drugs, and they dump the drugs into

485
00:24:42.119 --> 00:24:45.599
a drink and ruin them and that stuff's a whole

486
00:24:45.599 --> 00:24:48.799
milk or nothing around nobody's holding.

487
00:24:49.000 --> 00:24:51.039
I got a name for you, sound Bulk of Brooklyn.

488
00:24:51.759 --> 00:24:57.240
Yeah, b u c A. What about his wife? Enji?

489
00:24:58.839 --> 00:25:05.359
Rest time, there's been some talmb what shipman and as

490
00:25:05.359 --> 00:25:09.039
we you have to everybody push.

491
00:25:08.799 --> 00:25:11.279
Breed, what do you want it?

492
00:25:20.359 --> 00:25:20.799
That's all.

493
00:25:21.440 --> 00:25:23.160
I'm going to check on his address in the Bronx

494
00:25:23.160 --> 00:25:24.160
and if they don't know you, they're.

495
00:25:24.079 --> 00:25:24.680
Directly I thought.

496
00:25:24.680 --> 00:25:27.319
I told you to stand get that hair down before sir,

497
00:25:28.359 --> 00:25:31.680
we're going out by no. Everybody will be backing.

498
00:25:31.640 --> 00:25:33.559
Out, and it's all just so that they can talk

499
00:25:33.599 --> 00:25:37.000
to their informer. And then they punch the informer, basically

500
00:25:37.160 --> 00:25:40.359
to keep him safe. If they hadn't punched the informer,

501
00:25:40.440 --> 00:25:42.480
everybody in that bar would have known they went into

502
00:25:42.519 --> 00:25:44.359
the room to talk to him, not to rough him

503
00:25:44.400 --> 00:25:46.960
up to some extent. Yeah, I agree with that. He

504
00:25:47.039 --> 00:25:50.440
definitely has maybe not classic methods, but of course if

505
00:25:50.440 --> 00:25:53.759
he had classic methods, the story never would have happened.

506
00:25:53.799 --> 00:25:56.519
After they get back from DC, there's a scene where

507
00:25:56.559 --> 00:25:58.720
they're finding out that the captain is taking them off

508
00:25:58.759 --> 00:26:02.039
the case. Popeye is heading back to his apartment and

509
00:26:02.119 --> 00:26:02.359
all of.

510
00:26:02.359 --> 00:26:03.720
A sudden, shots ring out.

511
00:26:03.759 --> 00:26:09.119
He's being fired upon by Rousseau, the muscle of French muscle.

512
00:26:09.319 --> 00:26:11.440
By the time that Popeye gets up to the roof,

513
00:26:11.519 --> 00:26:15.559
he looks down sees so running off and this starts

514
00:26:15.599 --> 00:26:18.160
off the signature scene of this whole.

515
00:26:17.920 --> 00:26:21.119
Film without a doubt that the car chase scene is

516
00:26:21.480 --> 00:26:25.480
frenetic and crazy, and the idea that it was filmed

517
00:26:25.720 --> 00:26:27.079
sort of semi legally.

518
00:26:27.400 --> 00:26:29.000
What what do you mean by semi legally.

519
00:26:29.359 --> 00:26:32.319
They didn't get any official permits at all. And what

520
00:26:32.400 --> 00:26:35.440
they did was they used a bunch of policemen they

521
00:26:35.559 --> 00:26:38.640
hired to drive in a bunch of cars to block

522
00:26:38.799 --> 00:26:41.680
traffic to keep non part of the movie people from

523
00:26:41.759 --> 00:26:44.240
getting in the way. But there are scenes where they

524
00:26:44.400 --> 00:26:49.640
dodged real citizens driving their cars on that road and

525
00:26:50.920 --> 00:26:51.680
just filmed it.

526
00:26:51.720 --> 00:26:54.559
There's some scenes where it's it's so obvious. There are

527
00:26:54.559 --> 00:26:56.640
other scenes where it's like when the lady has the

528
00:26:56.680 --> 00:26:58.839
baby and the stamps, Yeah, that.

529
00:26:58.759 --> 00:27:02.240
Hits the trash and that has set up scene, sure, clearly,

530
00:27:02.559 --> 00:27:04.960
But they weave it in so well that you're sort

531
00:27:04.960 --> 00:27:08.160
of believable. And the poor guy who gets his car taken,

532
00:27:08.359 --> 00:27:09.680
the last thing you hear from him.

533
00:27:09.559 --> 00:27:12.319
Is how all I got my car back? Call in pieces,

534
00:27:12.759 --> 00:27:13.599
it's the answer.

535
00:27:14.799 --> 00:27:17.440
There's no cut in between the time Hackman gets in

536
00:27:17.480 --> 00:27:20.960
the car and he does that peel out and.

537
00:27:20.960 --> 00:27:23.039
Does it one hundred percent successfully because you know, it

538
00:27:23.039 --> 00:27:24.599
would have been pretty funny if the give me your

539
00:27:24.640 --> 00:27:25.880
car the immediately wrecks it.

540
00:27:26.079 --> 00:27:28.799
Bill Hickman drove the car in the chase, was this

541
00:27:28.920 --> 00:27:31.039
actor who was playing Muldrag.

542
00:27:31.240 --> 00:27:34.519
The car chase scene was considered one of the greatest

543
00:27:34.599 --> 00:27:37.319
in film history. You're not actually chasing another car, he's

544
00:27:37.400 --> 00:27:40.200
chasing a subway train, which is the crazy part. It's

545
00:27:40.240 --> 00:27:43.119
a it's an elevated subway. He's underneath it trying to

546
00:27:43.160 --> 00:27:45.559
make his way down there. And the crazy thing is

547
00:27:45.799 --> 00:27:48.559
all of this was achieved without any level of CGI.

548
00:27:48.799 --> 00:27:50.880
Today, some of those things they may have put some

549
00:27:51.000 --> 00:27:53.720
things in there digitally or for sure.

550
00:27:54.039 --> 00:27:56.799
I think one to pull away from this is nowadays

551
00:27:56.799 --> 00:27:59.599
what you do is you'd get the permits. Obviously, that's

552
00:27:59.720 --> 00:28:02.119
just that goes without saying. You get the permits and

553
00:28:02.160 --> 00:28:06.279
you do everything, and you'd have hundreds of extras, hundreds

554
00:28:06.319 --> 00:28:11.880
of stuntmen driving cars, and it would it would balloon

555
00:28:11.920 --> 00:28:16.279
the budget by millions and millions of dollars for just

556
00:28:16.400 --> 00:28:19.680
that scene. It's a great scene. It really pulls together

557
00:28:19.759 --> 00:28:22.839
the frenetic level. We're out because remember we've been building

558
00:28:23.279 --> 00:28:26.599
for the beginning of this movie was calm guy hanging

559
00:28:26.640 --> 00:28:29.079
out with his girlfriend in Marseille, all the way to

560
00:28:29.200 --> 00:28:33.759
this guy who's on a train. Popeye's chasing them in

561
00:28:33.839 --> 00:28:36.960
a car below the train and getting into all kinds

562
00:28:36.960 --> 00:28:39.440
of recks and crazy things. And at that point, everything

563
00:28:39.519 --> 00:28:42.119
is just going really fast at that point, and there's

564
00:28:42.160 --> 00:28:45.119
a high level of tension and people are getting shot,

565
00:28:45.319 --> 00:28:48.039
people are trying to stop the train. Shout out to

566
00:28:48.519 --> 00:28:52.519
the transit authority in New York and in the film

567
00:28:52.559 --> 00:28:56.440
for showing the runaway train breaking that it's one hundred

568
00:28:56.440 --> 00:28:59.559
percent mechanical. If you noticed in the in the show,

569
00:28:59.680 --> 00:29:02.599
it goes over the trip and the trip. If you

570
00:29:02.720 --> 00:29:05.799
hit the train of a certain speed, that trip flips

571
00:29:06.559 --> 00:29:09.160
up and starts a mechanical breaking process.

572
00:29:09.319 --> 00:29:12.559
You cannot stop. And that's how that train stopped.

573
00:29:12.759 --> 00:29:15.319
Yeah, it's actually a whole mechanical thing, because if you

574
00:29:15.400 --> 00:29:18.000
hit that thing slow, it lets you go over it evidently,

575
00:29:18.200 --> 00:29:20.680
but if you hit it hard and fast trips and

576
00:29:20.759 --> 00:29:23.000
that's why the train stopped. Now, even though it stopped

577
00:29:23.000 --> 00:29:25.480
really fast, everybody got hurt. If you look in the train,

578
00:29:25.559 --> 00:29:28.480
you saw people getting thrown. That was kind of goofy,

579
00:29:28.640 --> 00:29:31.119
like when the bad guy got thrown and his gun

580
00:29:31.160 --> 00:29:33.079
got thrown. It was like, wait a minute, it looks

581
00:29:33.079 --> 00:29:34.799
like he's being thrown the wrong way.

582
00:29:34.920 --> 00:29:37.279
If you've ever seen the movie poster for the French Connection,

583
00:29:37.400 --> 00:29:41.200
we come to the scene where Popeye is chasing Rousseau

584
00:29:41.480 --> 00:29:45.039
up the stairs and shoots them in the back. So

585
00:29:45.079 --> 00:29:47.359
now we're heading into the final act of the film,

586
00:29:47.799 --> 00:29:52.480
and the brown Lincoln makes an appearance again. After Russo

587
00:29:52.640 --> 00:29:55.480
is tailing sal Boca. Sal has parked it off in

588
00:29:55.559 --> 00:29:58.279
this innocuous place for it to be picked up again.

589
00:29:58.559 --> 00:30:00.640
Popeye knows that there's something.

590
00:30:00.400 --> 00:30:03.759
On that car, and eventually they impound the car.

591
00:30:03.880 --> 00:30:07.400
They bring it into the lot cars dirty. They take

592
00:30:07.480 --> 00:30:08.920
the car apart.

593
00:30:09.880 --> 00:30:13.279
They're looking for the drugs, pulling up the seats, taking

594
00:30:13.279 --> 00:30:16.559
out all the oil, ripping everything to pieces.

595
00:30:16.720 --> 00:30:19.480
They cannot find the drugs.

596
00:30:19.240 --> 00:30:21.480
And nobody been under that car since they came from

597
00:30:21.559 --> 00:30:22.240
five grade.

598
00:30:23.119 --> 00:30:24.039
That thing is clean.

599
00:30:25.359 --> 00:30:28.880
I don't buy that earth the stuff is in that car.

600
00:30:30.079 --> 00:30:33.519
Will you find it? I can. That was the way

601
00:30:33.599 --> 00:30:34.599
to the car when you got it.

602
00:30:35.039 --> 00:30:38.319
But he's sell one hundred and ninety five pounds on

603
00:30:38.440 --> 00:30:41.319
this mino says four thousand, six hundred and seventy five,

604
00:30:41.720 --> 00:30:43.160
one hundred and twenty pounds up away.

605
00:30:43.240 --> 00:30:47.079
They realized that there's one last place that they didn't look,

606
00:30:47.319 --> 00:30:51.160
the rocker panel, and that's where they find the heroine.

607
00:30:51.279 --> 00:30:55.359
It was hidden inside the frame because back in the day,

608
00:30:55.720 --> 00:30:57.680
a car, a big car like that, had a big,

609
00:30:57.759 --> 00:31:01.400
heavy steel frame with a body on top of it.

610
00:31:01.440 --> 00:31:04.720
Nowadays cars are made with what are called unibodies, so

611
00:31:04.920 --> 00:31:06.920
the body and the frame or one thing, and there

612
00:31:06.960 --> 00:31:09.160
aren't as much heavy pieces. But this is in the

613
00:31:09.240 --> 00:31:11.880
days of big v eights and giant cars, and that's

614
00:31:11.880 --> 00:31:14.000
where they had hidden the drugs in that rockert channel.

615
00:31:14.160 --> 00:31:16.440
They had to use a chisel to get it out,

616
00:31:16.519 --> 00:31:19.039
and you see later the drug dealers have to use

617
00:31:19.079 --> 00:31:22.119
a chisel to get it out right as well. And

618
00:31:22.200 --> 00:31:24.200
you see when they're searching the car, they look inside

619
00:31:24.279 --> 00:31:26.559
the tires, they look all over the places. This is

620
00:31:26.599 --> 00:31:28.880
well hidden, and they had to work hard to get

621
00:31:28.880 --> 00:31:31.720
it and then they return it to them sort of

622
00:31:31.759 --> 00:31:34.359
in the same condition that they got it, which I

623
00:31:34.440 --> 00:31:37.559
think is a stretch, but the point is they wanted

624
00:31:37.599 --> 00:31:39.799
to get the car back to them so that they

625
00:31:39.839 --> 00:31:43.680
could catch them in the act of recovering and making

626
00:31:43.720 --> 00:31:44.160
the deal.

627
00:31:44.480 --> 00:31:46.440
The scene was kind of funny, a little bit because

628
00:31:46.880 --> 00:31:50.400
the actor who was the third Frenchman, Henri Deveraux, he

629
00:31:50.519 --> 00:31:53.400
shows up and he says, I've heard my car was here,

630
00:31:53.519 --> 00:31:54.920
you know it was to take it up.

631
00:31:54.839 --> 00:31:56.720
And I'm the guest of the United States.

632
00:31:56.920 --> 00:31:59.200
This is where I really like Roy Scheider's character because

633
00:31:59.240 --> 00:32:01.519
he comes out there and he's like, he's like his

634
00:32:01.799 --> 00:32:04.480
best friend, like, yeah, no, we've got a car.

635
00:32:04.559 --> 00:32:06.480
It's right here. We're going to bring it around for you.

636
00:32:06.799 --> 00:32:09.680
And they bring this car around he'd take you, and

637
00:32:09.759 --> 00:32:11.200
it looks like they never touched it.

638
00:32:11.240 --> 00:32:13.880
But it's funny because very Charter is exactly doing.

639
00:32:13.640 --> 00:32:16.920
That, oh yeah, we found it, and just totally puts

640
00:32:17.000 --> 00:32:17.799
him at ease.

641
00:32:17.839 --> 00:32:19.440
And of course this is where you find out what

642
00:32:19.519 --> 00:32:22.640
the role of that actor really was, what his role was.

643
00:32:23.160 --> 00:32:27.759
He was supposedly scouting locations for a movie. That's why

644
00:32:27.799 --> 00:32:30.000
he needed to move around the city, and that's why

645
00:32:30.039 --> 00:32:32.599
he brought this car because the car is part of

646
00:32:32.599 --> 00:32:35.480
the movie, right and it has He needed to have

647
00:32:35.480 --> 00:32:38.000
the car to see how it would be in scenes.

648
00:32:38.039 --> 00:32:40.359
And you find that out when the guy at the

649
00:32:40.480 --> 00:32:42.839
door is talking, is like, why did you leave this

650
00:32:43.000 --> 00:32:45.759
car down in a terrible part of town? If you're

651
00:32:45.799 --> 00:32:48.319
staying up at some other place. It's really nice and

652
00:32:48.640 --> 00:32:50.440
with the director, you know, he wanted to see and

653
00:32:50.440 --> 00:32:52.720
he was out scouting locations and he left it. So

654
00:32:53.279 --> 00:32:55.680
obviously it was funny, a little bit contrived, but that's

655
00:32:55.680 --> 00:32:57.799
really where you find out what the role of the actor.

656
00:32:57.839 --> 00:32:59.720
You see the actor. I think before that.

657
00:32:59.759 --> 00:33:04.000
When he and Elaine are having a conversation in the hotel.

658
00:33:03.720 --> 00:33:06.640
Elaine no longer has Russo Russo's dad. He needs Henri

659
00:33:07.000 --> 00:33:08.119
with him, and.

660
00:33:08.039 --> 00:33:11.480
Then they take the car out to a location under

661
00:33:11.559 --> 00:33:15.599
Hellgates Bridge to transfer the heroine to another vehicle.

662
00:33:15.759 --> 00:33:17.480
Make the money swap, right, They're going to take the

663
00:33:17.559 --> 00:33:19.880
drugs out with the money in the same place.

664
00:33:20.400 --> 00:33:23.519
Elaine is driving away with the money and he comes

665
00:33:23.599 --> 00:33:26.880
up over a bridge and the police have been following

666
00:33:26.920 --> 00:33:29.519
them the entire time. Popeye just gives him the exact

667
00:33:29.519 --> 00:33:33.119
same wave that Elayne had given him before, because I

668
00:33:33.279 --> 00:33:36.640
caught you, We got you. Elaine takes the car back,

669
00:33:36.839 --> 00:33:40.480
the police close in. There's a firefight that happens, and

670
00:33:40.519 --> 00:33:44.519
I think, yeah, Russo ends up killing Boca with a shotgun.

671
00:33:44.680 --> 00:33:49.039
Elaine is getting away and Popeye is pursuing him. Mauldrig

672
00:33:49.240 --> 00:33:53.200
also sees Popeye following him, and so he starts to follow.

673
00:33:53.559 --> 00:33:56.799
Russo follows him as well into this abandoned warehouse, and

674
00:33:56.839 --> 00:34:00.839
he definitely sees Elaine and he's chasing him. He's hyper

675
00:34:00.880 --> 00:34:03.640
focused on getting this guy. Russo comes up behind him.

676
00:34:03.720 --> 00:34:06.079
Popeye spins around and looks like he's about to shoot him,

677
00:34:06.079 --> 00:34:08.880
but he doesn't because it's his partner. The next guy

678
00:34:08.880 --> 00:34:13.719
who pops up looks like the outline of Elaine and

679
00:34:13.800 --> 00:34:17.079
shoots him dead in a classic foreshadowing. It's mouldric.

680
00:34:17.360 --> 00:34:22.000
It was very ironic that the entire time talking about him,

681
00:34:22.400 --> 00:34:25.599
there's a lot of fort Popeye shoots him and it's,

682
00:34:25.599 --> 00:34:29.719
oh my gosh, a lot of foreshadowing. Popeye says, Frog

683
00:34:29.800 --> 00:34:32.440
one is in this next room, and you see him

684
00:34:32.480 --> 00:34:35.320
reload his pistol and he goes over you. Hear a

685
00:34:35.360 --> 00:34:39.360
single shot and we go to black and then we

686
00:34:39.400 --> 00:34:42.000
see what happened afterwards.

687
00:34:42.360 --> 00:34:44.519
Yeah. In text, a lot of people have a problem

688
00:34:44.559 --> 00:34:47.719
with this ending, right because it leaves you up in

689
00:34:47.760 --> 00:34:50.599
the air to some extent. It also does not pay off.

690
00:34:50.599 --> 00:34:54.360
There's no payoff, the bad guys getting their just deserves

691
00:34:54.400 --> 00:34:57.199
to some extent, except for Boca, who's like just a

692
00:34:57.440 --> 00:34:59.840
hustler trying to hustle and not really. I don't think

693
00:34:59.840 --> 00:35:02.599
he he was a bad super bad dude, didn't seem

694
00:35:02.679 --> 00:35:06.199
kill anybody. He gets shotgunned in the chest. The bad

695
00:35:06.239 --> 00:35:08.800
guy does get killed by Popeye, which is good. But

696
00:35:08.880 --> 00:35:12.320
this guy the mastermind Elaine in these and you can

697
00:35:12.360 --> 00:35:14.519
wrap it up with what happens to each one of

698
00:35:14.559 --> 00:35:15.159
them if you want.

699
00:35:15.280 --> 00:35:18.360
Joel Weinstock he was indicted, but he was released because

700
00:35:18.360 --> 00:35:22.800
of lack of evidence. Alain Charnier was never found, but

701
00:35:22.880 --> 00:35:24.400
he was believed to have.

702
00:35:24.400 --> 00:35:26.239
Returned to France. Interesting.

703
00:35:26.480 --> 00:35:29.599
The actor Henri Devereux was sentenced to four years in

704
00:35:29.639 --> 00:35:31.360
federal prison for conspiracy.

705
00:35:31.519 --> 00:35:33.199
The guy that goes to jail is the actor.

706
00:35:33.360 --> 00:35:35.079
The actor is the only guy who goes to jail.

707
00:35:35.119 --> 00:35:37.119
I don't know if freaking was trying to make a

708
00:35:37.119 --> 00:35:40.239
statement there, think you will. And unfortunately for Jimmy and Buddy,

709
00:35:40.400 --> 00:35:42.840
they are reassigned outside of narcotics.

710
00:35:43.039 --> 00:35:45.320
Yeah, that was a big That was probably a huge

711
00:35:45.360 --> 00:35:48.679
demotion for him. Yeah, and probably result of the fact

712
00:35:48.679 --> 00:35:51.719
that the guy got shot and then we didn't get

713
00:35:51.760 --> 00:35:54.800
the main guy. But it's I have to say, it's

714
00:35:54.840 --> 00:35:56.960
one of those ones where you're like the end of

715
00:35:56.960 --> 00:35:59.079
that movie, you're like, you're gonna end it.

716
00:35:59.000 --> 00:36:01.159
Like, oh, the first time I watched it, I was

717
00:36:01.159 --> 00:36:02.280
a little bit angry about it.

718
00:36:02.599 --> 00:36:03.079
Yeah, you know that.

719
00:36:03.159 --> 00:36:05.559
It just it suddenly stopped with that.

720
00:36:06.039 --> 00:36:09.920
I agree, and it was it was certainly it certainly

721
00:36:10.239 --> 00:36:12.280
again one of those things that were different in this

722
00:36:12.400 --> 00:36:15.079
movie that sort of unlike a lot of other movies,

723
00:36:15.159 --> 00:36:17.760
there usually wasn't There was sometimes an epilogue, but it

724
00:36:17.800 --> 00:36:20.280
was usually acted out. It wasn't just usually text.

725
00:36:20.400 --> 00:36:23.159
So if you were to remake this movie today, what

726
00:36:23.239 --> 00:36:25.480
would you keep the same and what would you change.

727
00:36:25.559 --> 00:36:29.199
There were a lot of following doing a lot of following,

728
00:36:29.320 --> 00:36:33.000
and I thought, after a while, you're like, I get it, okay, yeah,

729
00:36:33.079 --> 00:36:34.480
you're following. We know it's hard.

730
00:36:34.840 --> 00:36:37.239
After the first couple of times, you realize how hard

731
00:36:37.280 --> 00:36:37.599
it is.

732
00:36:38.159 --> 00:36:41.960
And what's interesting. And the car scene, I don't think

733
00:36:42.039 --> 00:36:45.000
you could have done anything better than that, And it

734
00:36:45.039 --> 00:36:48.480
worked out really well. With the sole exception of the following.

735
00:36:49.119 --> 00:36:52.239
Once that guy got on the train, I failed to

736
00:36:52.280 --> 00:36:55.639
see how he knew Popeye was following him Because you're

737
00:36:55.679 --> 00:36:58.519
on the train. You cannot see underneath that train, right

738
00:36:58.639 --> 00:37:05.039
Oh yeah, cha, Yeah, I mean maybe you'd hear it

739
00:37:05.119 --> 00:37:07.679
a little bit, but frankly, those trains are really loud.

740
00:37:07.719 --> 00:37:10.000
So I have a hard time saying.

741
00:37:09.840 --> 00:37:12.320
Why wasn't that guy just sitting there waiting for the

742
00:37:12.360 --> 00:37:14.360
train to come and getting off at a station? And

743
00:37:14.400 --> 00:37:16.880
he made him stop not stop at the station. Now

744
00:37:16.920 --> 00:37:20.480
I know he almost didn't get on, but the idea

745
00:37:20.559 --> 00:37:21.920
that he would take a car and.

746
00:37:21.880 --> 00:37:24.079
Be able to get to that station before he could.

747
00:37:23.920 --> 00:37:26.880
Get off the train, right, And I think they should

748
00:37:26.880 --> 00:37:29.920
have somehow shown him the car. And the way I

749
00:37:29.920 --> 00:37:31.320
would have done it was I would have had the

750
00:37:31.360 --> 00:37:34.679
guy look out the train and look at some windows

751
00:37:34.719 --> 00:37:37.039
of a building and see the car, that.

752
00:37:37.039 --> 00:37:38.679
There's a car that he's being chased.

753
00:37:38.760 --> 00:37:41.719
Yeah, Because without that, I'm like, why is he so

754
00:37:42.559 --> 00:37:45.960
crazy about getting off? Why is he going to shoot somebody? Right? Right? Yeah,

755
00:37:46.000 --> 00:37:48.800
he waved at the policeman, right, and the policeman came

756
00:37:48.920 --> 00:37:50.960
up to him. But to be honest with you, even

757
00:37:51.079 --> 00:37:53.960
shooting the policeman seems silly because he pulled out of

758
00:37:53.960 --> 00:37:56.000
the station. It's like, you say, the policeman, I don't

759
00:37:56.039 --> 00:37:59.159
know who that guy was. He's crazy, he ran into

760
00:37:59.199 --> 00:38:01.519
me or I don't know. Maybe I just thought that

761
00:38:01.679 --> 00:38:04.000
was a little bit of a stretch that he would

762
00:38:04.039 --> 00:38:05.159
know that it was being followed.

763
00:38:05.239 --> 00:38:07.840
So let me ask you, this did a groove through

764
00:38:07.840 --> 00:38:10.280
the decades or has it lost.

765
00:38:09.920 --> 00:38:12.440
I think definitely. I think a couple of things, like

766
00:38:12.519 --> 00:38:15.800
most things that when you watched that were made in

767
00:38:16.079 --> 00:38:19.280
decades before. You're maybe for a lot of people who

768
00:38:19.280 --> 00:38:22.440
are listening alive, but some of us who are older

769
00:38:23.000 --> 00:38:25.320
realize is that you really have to put yourself a

770
00:38:25.360 --> 00:38:28.840
little bit in that timeframe and realize what's going on

771
00:38:28.920 --> 00:38:31.519
and not and also realize it was the first of

772
00:38:31.559 --> 00:38:35.079
these coming not it was not like I think I

773
00:38:35.119 --> 00:38:37.840
made mentioned before that or if you see the if

774
00:38:37.880 --> 00:38:42.639
you watch The Wire, which is really an amazing, amazing

775
00:38:42.679 --> 00:38:47.000
show that really delves into how police work had to

776
00:38:47.039 --> 00:38:49.800
be done in the electronic age, with burner phones and

777
00:38:49.840 --> 00:38:54.039
with phone tapping, and the analog for the car following

778
00:38:54.440 --> 00:38:58.079
in this movie is the phone tapping and trying to

779
00:38:58.119 --> 00:39:01.079
trace those phones in the Wire. It really showed you

780
00:39:01.159 --> 00:39:03.119
how real police worked and we just take it for granted.

781
00:39:03.119 --> 00:39:04.400
And I was like, oh, I think it show us

782
00:39:04.440 --> 00:39:07.400
really how they do these things. This was the first

783
00:39:07.400 --> 00:39:10.639
of those, and not that at very first, but definitely

784
00:39:11.719 --> 00:39:17.800
the not dressed up Peter Marlow, Spencer Tracy type of

785
00:39:18.159 --> 00:39:20.840
policeman detective thing going on.

786
00:39:21.480 --> 00:39:24.199
I one hundred percent agree with you. I know you

787
00:39:24.199 --> 00:39:27.119
you were talking about the wire the show that it

788
00:39:27.199 --> 00:39:29.639
reminded me that I thought of a lot was there

789
00:39:29.679 --> 00:39:32.280
was a show and the I can't reme feels like

790
00:39:32.679 --> 00:39:36.119
isn't the late nineties called n why PD Blue? And

791
00:39:37.320 --> 00:39:40.760
it reminded me of that where these cops were operating

792
00:39:41.280 --> 00:39:43.880
a lot on the edge of things, and they were

793
00:39:44.000 --> 00:39:49.000
very driven and sometimes they flirted with going up to

794
00:39:49.079 --> 00:39:52.440
the line and sometimes stepping over the line. And I

795
00:39:52.480 --> 00:39:56.119
think we've seen other characters who are like Popeye, who

796
00:39:56.199 --> 00:40:03.440
are driven to just being almost singularly focused on their

797
00:40:03.559 --> 00:40:05.039
task that's at hand.

798
00:40:05.559 --> 00:40:08.280
Yeah, for sure. Yeah, it's great, a great movie. I

799
00:40:08.320 --> 00:40:11.039
think it was really well done. Shock assume. My biggest

800
00:40:11.039 --> 00:40:14.000
takeaway is in what people would probably notice the most

801
00:40:14.079 --> 00:40:18.159
is how little dialogue there is. There really is not

802
00:40:18.360 --> 00:40:21.119
that much dialogue, and so you have to listen to

803
00:40:21.199 --> 00:40:23.320
what they're saying because they don't say a lot.

804
00:40:23.519 --> 00:40:25.960
Do we have anything else we can close it out?

805
00:40:26.480 --> 00:40:29.440
I do not have anything else. I think we probably

806
00:40:29.480 --> 00:40:32.559
provide you with far more information than we need so.

807
00:40:32.880 --> 00:40:35.400
Matt, I just wanted to thank you so much for

808
00:40:35.480 --> 00:40:39.079
your time, your perspective in helping to set the context

809
00:40:39.320 --> 00:40:42.159
of the nineteen seventies at that time based on your

810
00:40:42.239 --> 00:40:45.280
experience and what you live through. And I also want

811
00:40:45.320 --> 00:40:47.360
to thank our listeners for coming.

812
00:40:47.119 --> 00:40:48.920
Along and joining us on this.

813
00:40:49.559 --> 00:40:52.000
If you want to contact us, you can email us

814
00:40:52.000 --> 00:40:55.800
at podcasts at Cinematiclashback dot com or leave a comment

815
00:40:55.840 --> 00:41:00.800
on our Facebook page the Cinematic Flashback Podcast. We're trying

816
00:41:00.800 --> 00:41:03.199
to build this show and we would deeply appreciate a

817
00:41:03.280 --> 00:41:03.960
review on the.

818
00:41:03.920 --> 00:41:07.440
Platform you're listening on. If you enjoyed the show, please

819
00:41:07.440 --> 00:41:09.400
give us a five star review so we can reach

820
00:41:09.519 --> 00:41:10.239
more listeners.

821
00:41:10.679 --> 00:41:13.119
So join us next time as we take the way

822
00:41:13.159 --> 00:41:16.800
Back Machines to the seventies to explore another film from

823
00:41:16.840 --> 00:41:18.719
that decade.

824
00:41:18.960 --> 00:41:19.920
Now, I'm good to bev Tar