Introduction
Film genres are often associated with specific stylistic choices because these choices can help portray characters as protagonists or antagonists. In thrillers and action movies, camera movements are especially vital, as directors aim to immerse the audience in the chase. In a cult movie, The French Connection, every scene is shot with intention. Some notable strategies include shaky handheld camera, rack focus, and rapid movements contrasted with slow, controlled motions to demonstrate the difference between the police and criminals.
Film Analysis
While the action-packed car chases later in the movie are indicative of the genre, the establishing character scenes effectively showcase the characters’ contrasts. In one of the first scenes in the film, Jimmy “Popeye” Doyle and his partner go to a bar after catching a man with small bags of cocaine. Here, Popeye’s personality can be seen – the camera follows him from behind as he walks through the bar, talking to the women, flirting, and making jokes (The French Connection). He blends into the background and is not a stranger to the city, being familiar with its “underbelly” (Wheeler 25). However, the officer is also shrewd – the camera follows him and his thought process as the shots alternate between him and the potential criminals he spots at the nearby table.
The first portrayal of the main antagonist, Alain Charnier, is entirely different. If the audience was not watching a thriller, they might not have known he was a major international smuggler. The actor’s movements are slow and controlled, and the camera follows him without shaking. The setting is picturesque, and the time is divided equally between close-up shots of Charnier and the beautiful scenery (The French Connection). His dialogue with a colleague reads like a business chat, while his conversation with his girlfriend is joyful and relaxed.
The two lifestyles clash in the middle of the movie during the chase segment. Popeye pursues Charnier, while the latter realizes he is being followed. Rankin pointedly describes the police’s actions as “fevered” – Popeye runs after the smuggler, constantly losing him from sight (51). The handheld camera increases tension, as it is frantic, fast, and shaky. At the same time, Charnier never runs in this chase; he walks calmly, showing that he is in control of the situation. When looking for the police officer, he shows no emotion, and the camera is static. The use of rack focus in the subway demonstrates that the person is aware they are being spied on – the two men move in and out of the train, Charnier being the initiator, in control of every movement.
Conclusion
To conclude, The French Connection uses camerawork and setting to deepen the audience’s understanding of its main characters. The two central actors – Popeye and Charnier – each have a unique camera style that matches their personalities. The first man is ambitious, rash, and aggressive, while the second is collected, intelligent, and reserved. The camerawork mirrors the different behavioral patterns, juxtaposing the two parties in this dynamic pursuit.
Works Cited
Rankin, Cortland. Decline and Reimagination in Cinematic New York. Taylor & Francis, 2022.
The French Connection. Directed by William Friedkin, 20th Century-Fox, 1971.
Wheeler, Mark. Sorcerer: William Friedkin and the New Hollywood. Rowman & Littlefield, 2022.