With super-cool ’70s chic and a clever crime thriller vibe, it’s a welcome throwback to the action dramas of the past, before they chose the show over the story.
I am “biased” (con): nothing
(what is it? see my review minifesto)
Wwith super cool 70s chic and a clever crime thriller vibe, The connection feels more like BienFellas that the film to which it is directly linked, the best Oscar-winning film in 1971, The French connection. Although that’s not a bad thing. Here we discover the reverse side of the transatlantic heroin supply chain that Popeye Doyle was investigating in 1970s New York, via Marseille magistrate Pierre Michel (Jean Dujardin: Monuments Men) and his battle of several years – we open here in 1975 and run until the early 80s – with crime boss Gaëtan “Tany” Zampa (Gilles Lellouche: The extraordinary adventures of Adèle Blanc-Sec) to destroy his drug empire. Cigarette smoke hanging over Michel’s approval of questionable law enforcement methods – general arrest warrants? okay, so – to the delightful visual director Cédric Jimenez made while filming in 35mm, it’s a very welcome throwback to the action dramas of the past, before they get bloated with spectacle and forget we need to. complex characters to be intrigued and a story that envelops us in its world. Lellouche not only bears a striking resemblance to Robert DeNiro, anchoring that BienFellas-esque meaning, but also to Dujardin, highlighting a thin-between-cop-and-criminal motive that unites these two men; they are both obsessed with their own goals, both dedicated to their families, not one-note caricatures but realistic men. Dujardin’s performance is intense and captivating, so much so that you’ll instantly forget (if you didn’t even know it at all) that this is the truly dramatic first role for the comedic actor. It’s one of those movies that I could have watched forever, it’s also thrilling.
See also my #WhereAreTheWomen note from The connection for its representation of girls and women.