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Movie of the Year: 1971The Finale, Part IIThe 1971 Film Finale Podcast: One Champion RemainsThe 1971 film finale podcast brings the Taste Buds' most ambitious bracket season to its definitive conclusion. Ryan, Mike, and Greg have debated, dismissed, and championed their way through a remarkable field — and now eight films remain. In this episode, four Elite Eight matchups collapse into a single champion, and five major awards close out the season before the final verdict arrives.Furthermore, this finale caps a season that has included some of the most provocative, challenging, and enduring films ever made. From Stanley Kubrick's A Clockwork Orange to William Friedkin's The French Connection, the 1971 bracket has consistently rewarded listeners willing to sit with difficult, boundary-pushing work. The season also covered Straw Dogs, Sweet Sweetback's Baadasssss Song, and Dirty Harry — each one generating strong arguments before falling short of the Elite Eight.Additionally, five competitive award categories — Best Sex, Best Violence, Musical Moment, Best Actor, and Best Actress — draw nominees from across the full season. Consequently, this episode stands as the richest and most content-dense installment of the year.ContentsThe Elite Eight MatchupsThe 1971 AwardsWhy the 1971 Film Finale Podcast Still MattersRelated EpisodesFAQThe Elite Eight MatchupsEight films enter. One leaves as the 1971 champion. The Taste Buds structured the Elite Eight around four head-to-head matchups, and each one forces a different kind of critical argument.A Clockwork Orange vs. The DevilsTwo of the year's most transgressive films meet in the first matchup. A Clockwork Orange arrived as a season-long frontrunner — a Kubrick film operating at the height of his formal powers, one that the Taste Buds covered in depth on their dedicated episode. Ken Russell's The Devils, meanwhile, delivers a fever dream of religious hysteria and state violence that stands as one of the most divisive films the Taste Buds have discussed all season. Moreover, this matchup poses a pointed question: which film earns its provocation more honestly? Both demand something from the viewer. However, only one advances.Harold and Maude vs. McCabe and Mrs. MillerHarold and Maude represents the season's most warmly beloved film — a dark comedy about love, death, and radical living that generated some of the most enthusiastic podcast discussion of the year. By contrast, Robert Altman's McCabe and Mrs. Miller offers a revisionist Western suffused with melancholy and moral exhaustion, its beauty inseparable from its grief. Both films carry passionate advocates among the Taste Buds. Consequently, this matchup ranks among the tightest and most personal bracket debates of the entire season. Above all, it asks whether warmth or ache makes the stronger lasting impression.Wanda vs. The ConformistBarbara Loden's Wanda — a micro-budget American independent masterwork — faces Bernardo Bertolucci's The Conformist, a visually ravishing Italian political drama. Notably, both films center on characters adrift in systems designed to diminish them. Nevertheless, they arrive at very different emotional endpoints: Wanda drifts, the Conformist spirals. The Taste Buds' arguments in this matchup reveal as much about their own critical values as about the films themselves. In practice, this is the bracket's most purely cinephile debate.The French Connection vs. The Last Picture ShowThe bracket's most commercially dominant film — The French Connection, winner of five Academy Awards including Best Picture — faces Peter Bogdanovich's elegiac The Last Picture Show. In practice, this matchup pits Hollywood's muscular genre filmmaking against its more introspective New Wave ambitions. As a result, the debate cuts to the heart of what 1971 cinema actually achieved. Gene Hackman's Popeye Doyle and the dusty streets of Anarene, Texas, represent two entirely different ideas of what a great film should do — and the Taste Buds have strong opinions on which idea wins.The 1971 AwardsBefore the bracket champion is named, the Taste Buds present five awards covering the full sweep of the season. This Movie of the Year 1971 podcast segment features each host nominating the moments they found most memorable, daring, or essential — and the resulting field spans an extraordinary range of films and tones.Best SexThe nominees range from the tender to the violent to the surreal, drawing from three different films and three distinct registers of human sexuality.Jacy and Abilene — The Last Picture ShowThe Pool Party — The Last Picture ShowThe Rape of Christ — The DevilsThe Sex Duel with the Biker Gang — Sweet Sweetback's Baadasssss SongYoung Sweetback and the Sex Worker — Sweet Sweetback's Baadasssss SongBest ViolenceThe nominees span the full tonal range of 1971 action filmmaking — from Dirty Harry's iconic bank robbery standoff to the slow, aching finality of McCabe dying alone in the snow.The Car Chase — The French ConnectionHarry Foils a Bank Robbery — Dirty HarryThe Kid Kills the Cowboy — McCabe and Mrs. MillerThe Ludovico Technique — A Clockwork OrangeMcCabe Dies Alone in the Snow — McCabe and Mrs. MillerMusical MomentThe nominees here demonstrate just how varied 1971's soundtrack was — Cat Stevens, Beethoven, and Gene Wilder all make the shortlist.Maude Sings "If You Want to Sing Out, Sing Out" — Harold and MaudeOpening Funeral March — A Clockwork Orange"Pure Imagination" — Willy Wonka and the Chocolate Factory"Singin' in the Rain" — A Clockwork OrangeThe Tango — The ConformistBest Actor The five nominees represent the full range of 1971 male performance — from Hackman's coiled rage to Wilder's heartbreaking wonder. Additionally, this category generated some of the most contested debates in the entire 1971 film podcast season.Warren Beatty — McCabe and Mrs. MillerGene Hackman — The French ConnectionOliver Reed — The DevilsJean-Louis Trintignant — The ConformistGene Wilder —

Movie of the Year: 1971The Finale, Part IIThe 1971 Film Bracket Podcast Reaches the Elite EightThis 1971 film bracket podcast returns with its most dramatic episode yet. Ryan, Mike, and Greg — the Taste Buds — work through the bottom half of the Sweet 16, producing four matchups that nobody saw coming. Furthermore, the episode hands out two major awards: Comedic Performance and Biggest Shithead. The results set the stage for Part III, where the Elite Eight will be whittled down to a single 1971 champion.If you missed Part I of the finale, start there first. The bracket has been full of upsets throughout the season. Consequently, no outcome here should be taken for granted.The Sweet 16: Bottom Half of the 1971 Film BracketThe bottom half of the 1971 Sweet 16 is stacked. These four matchups pit some of the most beloved and argued-over films in the entire bracket against one another. Moreover, the range of cinema on display — from Hollywood blockbusters to European art films to New Hollywood grit — illustrates exactly why 1971 is one of the most fertile film years ever put to a bracket.The Taste Buds debate each matchup using their standard evaluative framework: craft, cultural impact, rewatchability, and gut feeling. Above all, they trust their instincts — and their instincts have produced surprises at every turn this season. Tune in to find out which four films advance to the Elite Eight.Willy Wonka and the Chocolate Factory vs. WandaThis matchup pits one of cinema's most beloved fantasies against one of its most criminally underseen gems. Willy Wonka and the Chocolate Factory needs little introduction — Gene Wilder's performance alone has kept it in the cultural conversation for over fifty years. Nevertheless, Wanda is no pushover. Barbara Loden's Wanda (1971) is a raw, naturalistic landmark of American independent cinema, and its inclusion in the bracket has been a point of pride for whoever seeded it.This is a clash of tone, scale, and intention. One film is a spectacle engineered for maximum delight. The other strips cinema down to its bones. However, the Taste Buds must pick one — and the pick will tell you something about where their tastes landed by the time the 1971 season reached its final stretch.The French Connection vs. Brian's SongTwo films that defined what mainstream American cinema could do with raw emotional and procedural intensity. The French Connection won the Academy Award for Best Picture in 1971. It features one of the most celebrated car chases in film history and a career-defining performance from Gene Hackman as the relentless, morally compromised Popeye Doyle. Additionally, William Friedkin's direction remains a masterclass in gritty, kinetic storytelling.Brian's Song, meanwhile, hit American living rooms as a TV movie and destroyed everyone who watched it. The story of Gale Sayers and Brian Piccolo remains one of the most emotionally devastating sports films ever made. Notably, the Taste Buds covered both films earlier this season — so this rematch in the 1971 film bracket carries the weight of all those prior arguments.The Last Picture Show vs. KluteTwo of New Hollywood's most enduring films square off here, and neither one will go quietly. The Last Picture Show is Peter Bogdanovich's elegiac black-and-white portrait of a dying Texas town — a film the American Film Institute has called one of the greatest ever made. Furthermore, its ensemble cast, including Jeff Bridges, Cybill Shepherd, Cloris Leachman, and Ben Johnson, delivers some of the finest performances in the bracket.Klute, however, has Jane Fonda. Her performance as Bree Daniels earned her the first of her two Academy Awards, and it remains one of the most psychologically intricate portrayals of a woman in crisis in American cinema. Alan J. Pakula's direction is coiled and paranoid in all the right ways. Consequently, this matchup may be the most difficult call in the entire bracket.The Conformist vs. The Panic in Needle ParkThe final Sweet 16 matchup is the most arthouse of the four — and arguably the most fascinating. Bernardo Bertolucci's The Conformist is a landmark of European cinema. Vittorio Storaro's cinematography is among the most studied in film school history, and the film's meditation on fascism, identity, and moral cowardice has only grown richer with time. You can read more about the film at Roger Ebert's review on RogerEbert.com.The Panic in Needle Park, by contrast, is bracingly American — a gritty, unglamorous portrait of heroin addiction on the streets of New York. It introduced Al Pacino to mainstream audiences. Moreover, Jerry Schatzberg's unflinching direction makes the film feel almost documentary in its honesty. These two films represent opposite ends of world cinema in 1971, and the Taste Buds must choose one.Award: Best Comedic Performance — 1971 Film Bracket PodcastThe Taste Buds hand out individual performance awards throughout the season, and the Comedic Performance category drew a fascinating and eclectic field of nominees. The 1971 bracket is not short on laughs — from the anarchic fantasy of Willy Wonka's chocolate factory to the dark comedy of Harold and Maude. Furthermore, the nominees represent a range of comic registers, from broad physical performance to pitch-black wit.The nominees are:David Battley — Willy Wonka and the Chocolate Factory (Mike's pick)Julie Dawn Cole — Willy Wonka and the Chocolate Factory (Greg's pick)Bud Cort — Harold and Maude (Mike's pick)Michael Gothard — The Devils (Ryan's pick)Gene Wilder — Willy Wonka and the Chocolate Factory (Greg's pick)David Battley's turn as the hapless Mr. Turkentine in Willy Wonka is a masterwork of bewildered reaction comedy. Julie Dawn Cole's Veruca Salt is a full-throttle comic creation — spoiled, relentless, and somehow sympathetic. Additionally, Bud Cort's Harold is a genuinely difficult comic achievement: deadpan to the point of catatonia, yet somehow enormously warm.Michael Gothard's Father Barre in The Devils is Ryan's wild-card choice — a performance of manic, committed intensity that functions as dark comedy whether or not Ken Russell intended it. Meanwhile, Gene Wilder's Willy Wonka remains one of cinema's great comic performances — menacing, whimsical, and deeply strange all at once. The winner is waiting for you in the episode.Award: Biggest Shithead of 1971One of the Taste Buds' most beloved recurring awards, the Biggest Shithead category recognizes the most memorably awful person — or entity — in the bracket. Notably, this award rewards commitment. Nominees do not simply do bad things. They do bad things with style, conviction, and a complete lack of self-awareness.The nominees are:Baron de Laubardemont — The Devils (Greg's pick)The Lady at Snakearama — Duel (Ryan's pick)The Motorcycle Cop — Harold and Maude (Greg's pick)Mr. Deltoid — A Clockwork Orange (Mike's pick)Veruca Salt — Willy Wonka and the Chocolate Factory (Mike's pick)Baron de Laubardemont, the cold bureaucratic villain of The Devils, brings state-sanctioned cruelty to the category. The Lady at Snakearama from Duel is Ryan's inspired choice — a brief but indelible portrait of someone who simply should not be in this movie. Furthermore, Harold and Maude's Motorcycle Cop is a monument to institutional pettiness.Mr. Deltoid from A Clockwork Orange is a sweaty, oleaginous masterpiece of ineffectual authority — Mike's nomination is well-argued. Veruca Salt, however, may be the category's most pure entry: a child who has elevated wanting things to an art form. The winner, as always, is in the episode.Why This 1971 Film Bracket Podcast Still MattersThe Sweet 16 is where bracket tournaments reveal their true character. By this stage, the obvious candidates are mostly gone. What remains are the films that survived not on reputation alone but on genuine argument. Moreover, the bottom half of the 1971 Sweet 16 contains some of the season's most debated films — which means every matchup result carries real emotional weight.The year 1971 is one of the most remarkable in cinema history. New Hollywood was hitting its stride. European art cinema was pushing form to its limits. Genre filmmaking was getting stranger, darker, and more personal. Consequently, any bracket drawn from this year produces matchups that feel genuinely impossible to call. The Taste Buds do not pretend otherwise — they argue, they agonize, and they vote.Part III is coming. The Elite Eight will determine the Movie of the Year: 1971 champion. Above all, this episode is the last chance to see which films survive before the final reckoning. Subscribe to PopFilter and follow along — the 1971 film...

The Artist needs THC for the TSA. We hear a tale about squirrels in the hood. Mex goes on Snaggle's roof for a jam session and Your Huckleberry thinks a guy should be able to proudly wear balloon t*ts.

Movie of the Year: 1971Dirty Harry (feat. Conor Kilpatrick from iFanboy!)The Dirty Harry podcast arrives this week on Movie of the Year: 1971, as the Taste Buds take on one of the most influential and contested crime films ever made. Don Siegel's thriller introduced the world to Inspector Harry Callahan — a San Francisco cop who operates on instinct, fury, and a very large handgun. Moreover, the film sparked a debate about justice, civil liberties, and the price of order that has never fully quieted. The Taste Buds are joined by Conor Kilpatrick of iFanboy for this Don Siegel Dirty Harry analysis, and they also cover 1971 ProStars and a special segment on the year in comic books.Episode Show Notes: What We CoverThis Dirty Harry 1971 film discussion covers a lot of ground. Below is a summary of the key talking points from the episode — a roadmap for listeners and a reference for anyone who wants to dig deeper after the fact.On Harry Callahan as a character: The panel opens by asking whether Harry is actually a hero or whether the film simply frames him as one. Conor argues that Eastwood's performance is so controlled and interior that the audience does the work of making Harry sympathetic — the film barely has to try. Ryan pushes back: Harry's righteousness is earned on screen because he is always right in his read of a situation, even when he is wrong in his methods. Mike lands somewhere in between, pointing out that Harry's body count by the end of the first film is genuinely troubling if you stop and count.On politics and the law: The Taste Buds spend significant time on Pauline Kael's famous "fascist" critique and whether it holds up. The consensus is that the film is more ambiguous than Kael allowed — but that the ambiguity is doing real work, and not always in a reassuring direction. The legal system in Dirty Harry is not just flawed; it is portrayed as an active obstacle to justice. That framing has consequences.On San Francisco: The panel discusses how Don Siegel uses the city as a visual argument — the geography of the chase scenes, the specific choice of Kezar Stadium as a set piece, and what it means to set this particular story in the city that had been the symbolic capital of American idealism just four years earlier.On 1971 in comics: Conor breaks down the Marvel vs. DC landscape of the year, the significance of the Spider-Man drug arc, and why Jack Kirby's Fourth World still does not get the mainstream recognition it deserves. Additionally, he and the Taste Buds find real thematic overlap between the comics and the film: both are grappling with institutions that have failed and individuals who step into the void.About the FilmDirty Harry (1971) was directed by Don Siegel and stars Clint Eastwood as Inspector Harry Callahan of the San Francisco Police Department. The film follows Callahan as he hunts the Scorpio Killer — a sadistic serial murderer loosely inspired by the real-life Zodiac Killer — while clashing repeatedly with a city bureaucracy unwilling to bend the rules. Harry has no such hesitation. Andrew Robinson plays Scorpio with chilling, unhinged intensity. The film's cat-and-mouse structure keeps the tension taut from its rooftop opening shot through its iconic waterfront finale.Furthermore, Dirty Harry arrived at a fraught cultural moment. Crime rates in major American cities were rising sharply. Public trust in government and police was eroding. Consequently, the film's portrait of a cop who gets results by any means necessary struck a powerful nerve. For more context alongside this Dirty Harry podcast, explore the full production history on the film's IMDb page.Produced by Warner Bros. and Malpaso Productions, the film features a propulsive score by Lalo Schifrin. Dirty Harry launched a five-film franchise and cemented Clint Eastwood as one of cinema's defining icons of controlled menace. It remains among the most debated American films of its era — a movie that means different things depending entirely on who is watching it. Listeners who enjoy this Dirty Harry podcast episode might also want to revisit our discussion of The French Connection, another 1971 film that wrestles with law enforcement, moral ambiguity, and the limits of the justice system.Guest Panelist: Conor Kilpatrick of iFanboyJoining the Taste Buds this week is Conor Kilpatrick, co-founder and longtime host at iFanboy — one of the most enduring comics media platforms on the internet. Conor co-founded iFanboy around 2000 alongside Josh Flanagan and Ron Richards, originally as a college email chain where friends traded weekly comic reviews. That chain became a website, then a podcast, then a 25-year institution in the comics world. Known as the "DC Guy" of iFanboy, Conor has spent decades explaining infinite Earths, multiple reboots, and the craft of visual storytelling with genuine enthusiasm and expertise. He brings that same depth of knowledge to the Dirty Harry podcast discussion this week.He is also the co-host of the Goodfellas Minute podcast and a co-founder of Great Northern Media. Moreover, his deep knowledge of 1971 comics makes him the ideal guest for this episode's special segment. His perspective on the cultural landscape of 1971 — what was happening in comics while Dirty Harry was in theaters — adds a dimension to this Dirty Harry 1971 film discussion that no other guest could bring. Welcome to Movie of the Year, Conor.Harry Callahan: The Dirty Harry Podcast's Central DebateHarry Callahan is one of American cinema's most complicated figures. On the surface, he is a blunt instrument — a man who solves problems with a .44 Magnum and withering silence. However, Siegel and Eastwood invest him with something far more ambiguous. Harry is genuinely competent, even brilliant, at what he does. The tragedy is that the system he serves refuses to reward competence over politics.Eastwood's performance is famously economical. He does not grandstand or seek sympathy. Notably, that restraint is precisely what makes Harry magnetic — audiences fill in the emotional gaps themselves, projecting onto a man who reveals almost nothing voluntarily. The Taste Buds discuss whether Harry reads as a hero, an antihero, or something the film itself cannot quite name. For contrast, consider how Gene Hackman's Popeye Doyle in The French Connection presents a similarly brutal cop — but one the film regards with considerably more irony.The "Do you feel lucky, punk?" monologue is among the most quoted speeches in 1970s cinema. Nevertheless, it is more than a catchphrase. It is a masterclass in character — Harry performing certainty he may not entirely feel, using psychology as a weapon when firepower is temporarily unavailable. Above all, it reveals a man who understands power in all its forms and deploys it with surgical precision.Politics, Justice, and the Law: A Don Siegel Dirty Harry AnalysisFew films from 1971 generated more critical controversy than Dirty Harry. Pauline Kael famously called it a fascist work of art in her widely-discussed review. Others defended it as a frank reckoning with a legal system too broken to protect its own citizens. Consequently, the film sits at the center of a political argument that has never fully resolved itself.The film's central tension is not, ultimately, between Harry and Scorpio. It is between Harry and the law itself. Time and again the legal system fails — releasing Scorpio on procedural grounds, blocking the investigation, prioritizing process over lives. Harry's response is to act outside those constraints entirely. Moreover, the film frames him as righteous for doing so, and that is precisely what troubled critics at the time.However, the Taste Buds push on this carefully. Does Dirty Harry endorse vigilantism, or does it simply portray it with unflinching honesty? The ending — Harry throwing his badge into the water — complicates any easy reading. Therefore, rather than celebrating his methods without reservation, the film may ultimately acknowledge that Harry's approach destroys him even as it saves others. This Don Siegel Dirty Harry analysis explores that tension without settling for easy answers. Listeners interested in how 1971 cinema handled political disillusionment should also visit our episode on A Clockwork Orange, which confronts similar questions from a radically different angle.San Francisco: A City in the WestSan Francisco is not merely a backdrop in Dirty Harry. It is a character. Don Siegel shoots the city with documentary precision — rooftops, construction sites, Kezar Stadium, winding streets, and the cold grey of the bay. As a result, San Francisco's geography becomes an extension of the film's moral landscape: beautiful, treacherous, and full of places the law cannot easily reach.The city of 1971 was in deep transition. The Summer of...

This week's French Connection podcast episode covers one of the most thrilling and morally complicated films of 1971. Ryan, Mike, and Greg revisit The French Connection on Movie of the Year. William Friedkin's Best Picture winner changed what American cinema thought a hero could look like. In addition, this episode features a special Gene Hackman career retrospective.Released in 1971, the film follows New York City detective Jimmy "Popeye" Doyle — based on real NYPD detective Eddie Egan, with partner Sonny Grosso inspiring the character of Russo. Doyle pursues a massive heroin operation with little regard for the law or the people around him. As a result, the film won five Academy Awards, including Best Picture, Best Director, and Best Actor. It remains one of the defining films of the New Hollywood era.This Movie of the Year podcast episode is one of the most anticipated of the 1971 season. Before diving in, check out our recent episodes on The Last Picture Show and A Clockwork Orange.Joining the Taste Buds for this episode is special guest C. Craig Patterson A screenwriter, director, and filmmaker based in Los Angeles. An alum of Columbia University, NYU's Tisch School of the Arts, and USC's School of Cinematic Arts, Patterson brings serious cinematic credentials to the table. His short film Fathead won the Cannes Film Festival Best Student Short Award and earned an NAACP Image Award nomination. His scripts have been recognized by the Sundance Screenwriters Lab, The Black List, and the Academy's Nicholl Fellowship. Patterson also directed the critically acclaimed Roy Wood Jr. comedy special Imperfect Messenger for Paramount+. With projects currently in development at Paramount and Epic Games, he is one of the most exciting emerging filmmakers working today — and exactly the kind of guest who makes a film like The French Connection worth revisiting.The French Connection 1971 Podcast: Popeye Doyle — Hero, Antihero, or Something Worse?The central tension of this French Connection 1971 podcast discussion is what to make of Popeye Doyle. Gene Hackman plays him as a force of nature — relentless, racist, reckless, and completely compelling. He is not a good man, and he is barely a good cop. Nevertheless, the film frames his obsession as heroic, his instincts as genius, and his victory as worth celebrating.Ryan, Mike, and Greg dig into what Friedkin and screenwriter Ernest Tidyman were doing with Doyle. Is the film a critique of the kind of law enforcement he represents? Or is it simply in love with him? The answer is probably both. Ultimately, that ambiguity is what makes the character so difficult and so fascinating fifty years later.The Real Detectives Behind the StoryThe real detectives, Eddie Egan and Sonny Grosso, consulted on the film and even appear in small roles. Consequently, knowing the story is grounded in a real investigation makes Doyle's behavior harder to dismiss. These were not fictional excesses invented for dramatic effect, and the panel takes that seriously.Gene Hackman won the Academy Award for Best Actor for this role, beating out Peter Finch, Walter Matthau, George C. Scott, and Topol. Furthermore, it remains one of the most celebrated performances of the 1970s. The panel uses this episode to look back at Hackman's broader career and make the case for where he stands in the pantheon.For more on Gene Hackman's career, visit the Internet Movie Database.William Friedkin and the New Hollywood Crime FilmDirector William Friedkin approached The French Connection as a documentary-style thriller. He shot on location in New York City with handheld cameras and natural light, refusing to glamorize either the city or its characters. As a result, the film feels unlike almost anything else from 1971 — raw, kinetic, and deeply uncomfortable.The Taste Buds explore how Friedkin's direction shaped the film's identity. Most notably, the legendary car chase under the elevated train tracks in Brooklyn is widely considered one of the greatest action sequences ever filmed. Friedkin shot it on live New York City streets without fully stopping traffic, with a camera mounted to the front of the car. For critical analysis of the chase, the Criterion Collection offers essential reading.Friedkin After The French ConnectionJust two years later, Friedkin directed The Exorcist, cementing his place as one of the defining filmmakers of the decade. The panel discusses what the two films share and what The French Connection reveals about Friedkin's sensibility. In both cases, his camera feels like it is barely keeping up with reality — and that is entirely by design.For more on Friedkin's influence on American cinema, visit the American Film Institute.The French Connection Podcast Discussion: Justice and Its LimitsAt its core, The French Connection is about the gap between justice and the law. Popeye Doyle operates outside the rules, endangers civilians, shoots an unarmed man in the back, and ultimately fails to bring the main target to justice. Despite all of this, the film presents his pursuit not as tragedy but as the cost of doing business.Ryan, Mike, and Greg examine what the film says about the American justice system in 1971 — a moment of profound national disillusionment. Vietnam, the civil rights movement, and the early signs of Watergate were all in the air. Meanwhile, the "good guys" in this film are not good, the "bad guys" are not caught, and the audience is asked to root for the pursuit anyway.Race and Policing in The French ConnectionMoreover, the film's racial politics are impossible to ignore. Doyle's racism is presented as character texture rather than moral failing, and the film never fully grapples with the implications of the policing it depicts. That discomfort is an important part of the conversation this week.For historical context on the real case, visit the DEA's history of the French Connection.Gene Hackman Best Performances: A Career RetrospectiveThis episode includes a special segment on Gene Hackman's best performances. The Taste Buds make their case for the defining Hackman roles and debate his greatest work. In particular, they discuss what made him such an unusual screen presence: his everyman quality, his capacity for rage, and his refusal to tell the audience how to feel about his characters.His breakthrough came in Bonnie and Clyde in 1967, and his Oscar followed here in The French Connection. Subsequently, classics like The Conversation, Mississippi Burning, Unforgiven, and The Royal Tenenbaums cemented one of the most extraordinary bodies of work in American cinema. This segment celebrates an actor who never got quite enough credit for how good he really was.Why The French Connection 1971 Still MattersMore than fifty years later, The French Connection remains essential viewing. Beyond its technical achievements, it functions as a moral document — capturing a specific American mood: exhausted, suspicious, and uncertain about its own institutions.Ultimately, this French Connection podcast episode revisits the film as a living argument about power, obsession, and the stories we tell about law enforcement. It asks hard questions, and this episode doesn't let them off the hook.Related Episodes from Movie of the Year: 1971If you enjoyed this episode, check out the rest of the Movie of the Year 1971 series:The Last Picture Show — Bogdanovich, nostalgia, and a dying Texas townA Clockwork Orange — Kubrick, free will, and the limits of the stateBrowse all Movie of the Year episodesFAQ: The French Connection Podcast and FilmWhat is The French Connection podcast episode about?Ryan, Mike, and Greg discuss William Friedkin's 1971 Best Picture winner. Topics include Popeye Doyle, Friedkin's direction, justice, and a Gene Hackman career retrospective.What is The French Connection about?It follows NYPD detective Popeye Doyle, based on real detective Eddie Egan, as he pursues a massive heroin smuggling operation using methods that are often illegal and always reckless.Who directed The French Connection?William Friedkin directed the 1971...

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Acceso anticipado para Fans - Hay películas que retratan el crimen. Y hay películas que cambian para siempre la forma de filmarlo. En este nuevo episodio de Criterio Cero nos sumergimos en The French Connection, el thriller seco, sucio y revolucionario que redefinió el cine policial en los años 70. Pero para entender la película… primero había que entender la realidad. En el programa viajamos al origen del caso real: La conexión marsellesa. El imperio de la heroína ligado a las mafias italianas. Su expansión en Nueva York y la posterior sucesión criminal en Harlem con figuras como Frank Lucas. Hablamos del entramado internacional de narcotráfico que inspiró la historia y del contexto social de una América marcada por la droga, la corrupción y la desconfianza institucional. Después nos adentramos en la película. Analizamos su producción al detalle: – Las complicadas y casi improbables contrataciones del reparto. – La elección de Hackman como Popeye Doyle cuando no era la opción obvia. – El estilo casi documental impuesto por Friedkin. Repasamos cómo se rodaron sus escenas más míticas: – La persecución bajo el tren elevado, filmada sin permisos completos y con riesgo real para peatones y conductores. – El uso de cámaras ocultas y luz natural. – Las decisiones técnicas que dieron al film su tono crudo e irrepetible. Y, por supuesto, desgranamos la película escena por escena, analizando: La obsesión de Popeye Doyle. La construcción del antagonista Alain Charnier. ️ La ciudad de Nueva York como personaje. ⚖️ El final anticlimático y su carga moral. Un estudio completo sobre un film que no glorifica al héroe, que no ofrece cierre cómodo y que convirtió la persecución en arte cinematográfico. En este programa participan Luis y Salva Vargas, en una conversación profunda sobre cine, historia criminal y el nacimiento del thriller moderno. Porque antes de los policías estilizados y las coreografías imposibles… hubo sudor, asfalto, improvisación y una obsesión llamada Popeye Doyle. Dale al play y entra en la conexión. Este programa cuenta con la producción ejecutiva de nuestr@s mecenas, l@s grandes, l@s únicos Kamy, Lobo Columbus, Enfermera en Mordor, Javier Ramírez, La Casa del Acantilado, Shinyoru, Lestat, Kal-el__80, Cohaggen, Elena Gómez, Olgafies, José Ángel Sanz, Rudy Ayose, Ian Pérez, Ed Salas, Mario López, Miguel Ángel, People Truelove Tellers, Sergio, Cristina AR, Danilo, Arnau VF, Bichodiablo. ¿Quieres ayudarnos a seguir mejorando y creciendo? Pues tienes varias opciones para ello. Dándole Me gusta o Like a este programa. 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Puedes hacerlo económicamente de varias formas: Apoyo en iVoox: En el botón APOYAR de nuestro canal de iVoox y desde 1,49€ al mes: https://acortar.link/emR6gd Invitándonos a una birra en Ko-Fi: por solo 2€ nos puedes apoyar en: https://ko-fi.com/criterioceropodcast Patreon: por sólo 3€ al mes en: https://patreon.com/CriterioCeroPodcast PayPal: mediante una donación a criterioceropodcast@gmail.com También nos podéis ayudar económicamente de forma indirecta si tenéis pensado suscribiros a las modalidades Premium o Plus de iVoox al hacerlo desde estos enlaces: Premium Anual: https://acortar.link/qhUhCz Premium Mensual: https://acortar.link/gbQ4mp iVoox Plus Mensual: https://acortar.link/y7SDmV Con cada rupia que nos llegue sufragamos los costes del programa al mes, invertiremos en mejorar los equipos y por supuesto, nos daremos algún que otro capricho . 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Camisetas, Sudaderas, tazas o mochilas en el siguiente enlace: https://www.latostadora.com/shop/criteriocero/?shop_trk Y Criterio Cero no acaba ya en el audio, ahora también nos tenéis en vídeo: En Twitch hacemos directos de Criterio En Serie: https://www.twitch.tv/criteriocero En YouTube: https://www.youtube.com/@criteriocero Y también puedes seguirnos en nuestras diferentes redes sociales: En Telegram en nuestro grupo: https://t.me/criteriocerogrupo En Facebook en nuestro grupo: https://www.facebook.com/groups/630098904718786 Y en la página: https://www.facebook.com/criterioceropodcast ✖️ En X (el difunto Twitter) como @criteriocero En Instagram como criterioceropodcast En TikTok como criteriocero ✉️ Para ponerte en contacto con nosotros al correo criterioceropodcast@gmail.com De paso aprovechamos para recomendaros podcasts que no debéis perderos: Hudson´s Podcast, Puede ser una charla más, Luces en el horizonte, La Catedral Atroz, La guarida del Sith, Crónicas de Nantucket, Más que cine de los 80, Fílmico, Tiempos de Videoclub, Sector Gaming , El Dátil de ET, La Casa del Acantilado, Kiosko Chispas, Just Live it, Filmotecast, La Tetera, Fuera de continuidad, Campamento Krypton, La órbita de Endor, Archivo007, El bastón de Chaplin Escucha este episodio completo y accede a todo el contenido exclusivo de Criterio Cero Podcast. 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Die auf realen Ermittlungen beruhende Jagd zweier New Yorker Drogenfahnder auf den internationalen Heroinring „French Connection“ bildet die Grundlage für diesen rauen Polizeithriller, der durch seine nahezu dokumentarische Inszenierung und die kompromisslose Darstellung von Polizeiarbeit jenseits herkömmlicher Heldenbilder besticht. Dies ist nicht zuletzt dem intensiven Spiel von Gene Hackman als obsessivem „Popeye“ Doyle sowie dessen Partner Buddy Russo, dargestellt von Roy Scheider, zu verdanken.Kontakt: podcast (at) retroboost.de

Dive deep into the critically acclaimed 1971 classic, 'The French Connection,' directed by William Friedkin. Join us as we explore Gene Hackman's Oscar-winning portrayal of the gritty, obsessed NYPD detective Popeye Doyle, and the film's groundbreaking car chase that set new standards in cinema. We discuss the film's raw depiction of 1970s New York, Hackman's method acting, and the influences this movie has had on crime and thriller genres. This episode also touches on the unsung hero behind the camera, William Friedkin, and his unique directorial style that forever changed the landscape of action filmmaking. Don't miss our take on one of the most influential crime films ever made!

In this episode, Stuart and Jacob dive into the gritty underworld of the "French Connection" franchise, comparing the original 1971 classic with its 1975 sequel and the lesser-known 1986 made-for-TV pilot movie, "Popeye Doyle." They explore the evolution of the Jimmy "Popeye" Doyle, portrayed by Gene Hackman, and how his journey shifts from a hard-nosed detective in New York to a fish-out-of-water in France. Is this characterization even right for Hackman? And what of Roy Scheider's character keeping him grounded? What of Hershey's chocolate? But ultimately, what makes the original film a landmark in neo-noir cinema, and how does the sequel falter in its execution? Or do they even care for either of these movies to begin with? And then there's "Popeye Doyle," a film (can we even call it a film?) that raises more questions than it answers.Also featured in this episode are thoughts on Gene Hackman's diverse career and sad passing, a quiz about his iconic roles, Stuart's thoughts on the recent "Sinners", and a debate on the merits of director's cuts. All this and more on They Remade It!Plot Synopsis Timestamps: 19:33 - 29:38----------Socials----------@theyremadeit.bsky.social on BlueSkytheyremadeit@gmail.com

95 éves korában elhunyt Gene Hackman (1930-2025), az intellektuális kemény fickó, aki félelmet és szánalmat bármikor, ugyanolyan intenzitással tudott kelteni. Leghíresebb szerepeiben férfias profikat játszott. A Mikulás-jelmezben piti tolvajokat pofozó zsaru, Popeye Doyle szerepe Oscar-díjat ért a „Francia kapcsolat”-ban, meghasonult Harry Caulként feszegette a padlódeszkákat a „Magánbeszélgetés"-ben”, de ő volt az, aki habókos Lex Luthorként térdre kényszerítette Supermant is. A második Oscarját hozó „Nincs bocsánat” seriffjének szerepét eredetileg visszautasította, de Clint Eastwood elmagyarázta, hogy karaktere az utolsó erőszakos ember a Vadnyugaton, így elfogadta. Kellő iróniával tudott vicces is lenni, például a „Madárfészek” karrierista, de értetlen republikánusaként, vagy „Az utolsó esély” fanyar humorú, despotikus tengeralattjáró-kapitányaként. Minden szerepében rendíthetetlen, mogorva és öntudatos volt – több generáció ellentmondást nem tűrő apja, aki mégsem elérhetetlen, mert megbújik benne a humorérzék és felszínre tör az esendőség. Legemlékezetesebb alakításai felidézésével tisztelegtünk a színészlegenda előtt.A beszélgetés résztvevői:Balázsy IstvánCsunderlik PéterLaska PálA Régen minden jobb volt a Tilos Rádió hátrafelé nyilazó történelmi műsora:https://www.facebook.com/regen.minden.jobb.volt

It's a whole new month here on We Drink & We Watch Things: welcome to Action! April. Forget the flashy stuff, we're talking old-school, no-nonsense action, where the streets are mean and the chases are intense. Grab a drink and settle in.This week, we're breaking down Friedkin's classic, getting into why it still hits so hard. We're not just geeking out over the car chase (though, yeah, that chase), but we're talking about Hackman's Popeye Doyle, the raw vibe of the film, and how it set the bar for gritty crime thrillers. We're basically just hanging out and talking about a seriously intense movie.If you're into classic action, crime flicks, or just want to hear us chat about a legendary piece of cinema, join us. We're mixing our thoughts on the film with our usual casual banter, making it a chill listen for anyone who appreciates a solid, no-frills action flick.If you prefer to watch our ugly mugs, this episode VIDEO is live on YouTube AND Spotify!Follow us on Instagram and TikTok to get ep sneak peaks and find out what's coming next. DM us what you want to hear about next or email us at wedrinkandwewatchthingspod@gmail.com.

Send us a textEpisode 188Some actors leave their mark on Hollywood with a single role. Others define entire genres. Then, there's Gene Hackman—a man whose presence on screen was so commanding, so effortlessly real, that he became a legend across decades, without ever seeming to try.This is the story of a man who came from nothing, shaped by hardship and rejection, who turned every obstacle into fuel for his rise. From a rebellious teenager lying about his age to join the Marines, to a struggling actor scraping by in New York, to an Academy Award-winning icon who made audiences believe in every word he spoke—Hackman's journey was anything but easy.Yet, through it all, he remained one thing above all else: authentic. Whether playing the relentless Popeye Doyle in The French Connection, the ruthless Little Bill Daggett in Unforgiven, or even the cunning Lex Luthor, his performances carried a weight that felt lived-in, raw, and unforgettable.But beyond the roles, beyond the accolades, was a man who quietly walked away from it all, choosing a life of peace over the spotlight. In this short audiobook, we explore the life, the career, and the lasting legacy of Gene Hackman—a Hollywood great who never needed the glitz to be remembered.Support the showInsta@justpassingthroughpodcastContact:justpassingthroughpodcast@gmail.com

Gene Hackman is a name that stands out in Hollywood for his sheer talent and range. Known for his extraordinary ability to embody a wide array of characters, Hackman's career spanned decades, and he became one of the most respected and versatile actors of his generation. However, his career was not without its ups and downs, and his personal experiences often influenced his professional choices. In this video, Robert McCune offers a deep dive into Hackman's career choices, the complexities of his acting journey, and how personal life events shaped some of the roles he took on.Gene Hackman is often celebrated for his remarkable performances in iconic films like The French Connection, Unforgiven, and The Conversation, but his career was not always marked by consistently lauded projects. As Robert McCune explains, Hackman was, at times, willing to take roles that he didn't necessarily believe in—roles that, while commercially successful, didn't necessarily align with his artistic ambitions. According to McCune, Hackman's decision to take these roles was influenced by personal circumstances, especially during a period of financial strain.Robert highlights interviews with some of Hackman's co-stars, such as Kevin Costner and Morgan Freeman, who praise his talent, describing him as one of the best actors they ever worked with. Both actors have expressed admiration for Hackman's ability to elevate any film he was a part of, and they emphasize his professionalism on set. But McCune points out that Hackman himself was not always thrilled with some of the roles he was doing, revealing that he sometimes took on movies simply for the paycheck.During his career, Hackman faced personal difficulties, notably a high-profile divorce, which led him to take on projects primarily for financial reasons. McCune explains that, at one point, Hackman openly admitted to accepting roles just to meet his alimony payments. While these roles were often not creatively fulfilling, they were necessary for him to support his personal life.Robert delves into this period of Hackman's career, explaining how financial pressures sometimes led him to choose projects that were less than memorable. However, McCune emphasizes that even during this time, Hackman's professionalism never faltered. Despite the circumstances, he brought his trademark skill and intensity to every project, regardless of its quality.Despite the occasional paycheck role, Hackman also delivered some of the most memorable performances in cinematic history. Robert McCune takes a moment to discuss some of Hackman's greatest career achievements. His roles in The French Connection, Unforgiven, and The Conversation stand out as some of his finest moments on screen. In these films, Hackman's versatility was on full display, from his gritty portrayal of Popeye Doyle in The French Connection to his quiet, morally complex performance in Unforgiven. These roles cemented Hackman's status as one of the greatest actors of his generation.According to McCune, Hackman's ability to navigate between villainous and heroic roles with equal skill was one of the reasons why he was so highly regarded by his peers. Actors like Morgan Freeman and Kevin Costner have pointed out that Hackman's performances were never about the material but about how he brought depth and authenticity to every character. This consistency in his craft is one of the hallmarks of Hackman's career, and it's a reason why he continues to be remembered as one of Hollywood's greats.Unfortunately, Hackman's final film role was far from a fitting send-off to his storied career. McCune highlights Welcome to Mooseport, a comedy starring Ray Romano, as one of Hackman's least successful films. The film, which was critically panned, didn't come close to showcasing Hackman's talents in the way his previous work had.

On February 27, we received the very sad and mysterious news that the world had lost a movie icon with Gene Hackman and his wife Betsy Arakawa, and one of their three dogs. The Santa Fe police department is still investigating and the case is still not ruling out the possibility of foul play. Hackman will always be remembered as an actor that can fit any role and could make it Oscar worthy. From the tough 1971 tough cop, "Popeye" Doyle in The French Connection, which earned him his first Academy Award for best actor, to the evil sheriff Little Bill Daggett in his role in "Unforgiving" which he earned his second Oscar for best supporting actor. Hackman will always be remembered for always being a gentleman and one of the greatest humans as well. While at the top of his career, Hackman decided to walk away from Hollywood, just like some of the greats in sports, like Ted Williams, Barry Sanders, Jim Brown. The GURU TALKIN SPORTS podcast, salute Hackman and sends our deepest condolences to his family. We will be back next week with Episode 259.

Tim and David talk Gene Hackman's passing, James Bond, Andor and Daredevil returning, and the third round of our 1980s movie Face-off!

In this brief minisode, I illustrate the legacy of the seemingly unstoppable Popeye Doyle and his various druglord takedowns in The French Connection double feature!     MUSIC USED: "Exit the Premises" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/          MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/  Blind Knowledge Podcast Network: https://www.blindknowledge.com/       SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222   Discord:  https://discord.com/channels/796154005914779678/796154006358851586         #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass 

Welcome back to another crazy week with a new episode of the "WR? Podcast"! This week's opening segment covers a RIP to James Earl Jones, wrapping up the review of this season's "Hard Knocks", and a review of AEW's "All Out 2024". Next up, the exclusive WR? NFL coverage continues with week one results, week two predictions, Steelers game breakdown, and "WR? NFL Power Rankings". Then, it's another WR? movie segment with the original/unoriginal, "The Movies That Made US" ("The French Connection"). The hilarity of the WR? World of Gooves ("GR'G") takes the show home. Please enjoy responsibly! PRESENTED by CHURCHILL PICTURES Timestamps: 00:00:00 - Intro: RIP to James Earl Jones, a Review of this Season's Hard Knocks, and a Review of AEW's All Out 2024. 00:42:48 - NFL: Week 1: Steelers Talk, Power Rankings, Predictions, and Fantasy Football 01:32:00 - Movies That Made US: The French Connection (1971) 01:49:00 - Goofs R Goofs Thanks for Listening!

NYPD Blue Balls  Eight months before starring as Al Bundy on Married… With Children, Ed O'Neill tried to keep pace with Gene Hackman in a TV spin-off of French Connection. Did NBC execs cancel this potential 1986 series because gruff narcotics detective Popeye Doyle was still murdering folks and violating civil liberties like it's 1971?  Or is the bigger problem that a future sitcom shoe salesman would rather sit on his ass watching sex tapes of Audrey Landers (Dallas) than chase down crooks?  Find out if this failed pilot solves the Middle East crisis when you Listen Now!

NYPD Blue Balls  Eight months before starring as Al Bundy on Married… With Children, Ed O'Neill tried to keep pace with Gene Hackman in a TV spin-off of French Connection. Did NBC execs cancel this potential 1986 series because gruff narcotics detective Popeye Doyle was still murdering folks and violating civil liberties like it's 1971?  Or is the bigger problem that a future sitcom shoe salesman would rather sit on his ass watching sex tapes of Audrey Landers (Dallas) than chase down crooks?  Find out if this failed pilot solves the Middle East crisis when you Listen Now!

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 28 of the Director Watch Podcast, the boys are joined AwardsWatch Associate Editor Sophia Ciminello to discuss the latest film in their William Friedkin series, The French Connection (1971). Though The Boys in the Band was a significant film in Friedkin's filmography, the young director hadn't quite yet made a hit, and was running out of chances within the Hollywood system. But along came The French Connection, a movie made right around the success of Bullitt, where audiences were ready for a cat and mouse cop movie with really good chance sequences. Though it fits that templet, The French Connection finds Friedkin dabbling into the grimy workings of a anti-hero cop who is looking to break the case of a lifetime, regardless of the collateral damage he leaves in his path. Led by an all time, Oscar winning performance from Gene Hackman, Friedkin made the hit of the year, and went on to win the Oscar for Best Director, and the film landed the Best Picture win of 1971. Ryan, Jay and Sophia breakdown all the crazy behind the scene stories from the making of the film, Friedkin's account of the events, Friedkin thought's on Hackman, the original ending of the film, the French New Wave influences, if Popeye Doyle is good at his job, if this is an all-time Best Picture winners for Dads, and more than a couple of signature tangents from the gang. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 2h10m. The guys will be back later this week to continue their series covering the films of William Friedkin with a review of his next film, The Exorcist. You can stream the film on Max. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

1971 brings us another year where you have to ask if someone wrote the winners down wrong, as the Academy goes with the cop thrillers and audiences decide they're not quite done with musicals. Best Picture goes to The French Connection, with Gene Hackman as Popeye Doyle, a cop on the edge in world he never made, fighting French drug traffickers with... racism and mostly inept surveillance? Doesn't seem great... Meanwhile, our Box Office Champion Fiddler on the Roof sings of Tradition, wishes to be a Rich Man, and audiences turned out Sunrise, Sunset. Which did Erin, Claire, and Dan connect with the most? Listen and find out!Find all of our episodes and the rest of Writing Therapy Productions' various entertainments at www.writingtherapyproductions.com

POPEYE'S HERE!!!!! In celebration of the life and work of the recently departed William Friedkin, we dig into the movie that netted him a Best Director Oscar and also took home the grand prize of Best Picture: 1971's THE FRENCH CONNECTION! We discuss the character of Popeye Doyle, Friedkin's clever ways of subverting copaganda, and examine the impact that his filmmaking style has on modern day cinema. After our discussion we count down some of our favorite Best Picture winners (I left ROCKY and THE GODFATHER off my list because what more can be said??). Like, subscribe, share, and leave a review or you'll be picking your toes in Poughkeepsie! Follow the show on Instagram and Twitter at @moviemoviecast and stay tuned to ScullyVision.com for more updates! We have merch: tinyurl.com/hotpropshop --- Support this podcast: https://podcasters.spotify.com/pod/show/moviemoviecast/support

Our run of tribute shows races on as we celebrate the late great William Friedkin with his Oscar winning masterpiece. You may think Popeye Doyle is a reckless monster but, at the end of the day, you'd be right. Buckle up, assholes, the only other Friedkin protagonist with this much pizazz is fucking Pazuzu. @austin_hayden @creamatoria @CineMythology cinemythologypod@gmail.com

How much will a viewer tolerate? What if you took away all the quick and easy ways in which movies dole out information? What if you made the hero less-than-wholly-admirable and the villain less-than-wholly-terrible? Would audiences still come along for the ride in that brown Le Mans with Popeye Doyle as he tries to catch the sniper who missed him? William Friedkin bet that they would--and won. Join us for a conversation about The French Connection, the classic 1971 police procedural. Topics include the chase, of course, but also the ways in which Popeye Doyle is not Dirty Harry, how the film's perfect structure allows the viewers to go through a process along with the detectives, and how Popeye resembles a great literary figure from a novel that also ends in a thrilling chase. William Friedkin's memoir, The Friedkin Connection, is an engaging read and includes much about the making of The French Connection. Robin Moore's original book that inspired the film—which Friedkin claimed to never have finished reading—can be found here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How much will a viewer tolerate? What if you took away all the quick and easy ways in which movies dole out information? What if you made the hero less-than-wholly-admirable and the villain less-than-wholly-terrible? Would audiences still come along for the ride in that brown Le Mans with Popeye Doyle as he tries to catch the sniper who missed him? William Friedkin bet that they would--and won. Join us for a conversation about The French Connection, the classic 1971 police procedural. Topics include the chase, of course, but also the ways in which Popeye Doyle is not Dirty Harry, how the film's perfect structure allows the viewers to go through a process along with the detectives, and how Popeye resembles a great literary figure from a novel that also ends in a thrilling chase. William Friedkin's memoir, The Friedkin Connection, is an engaging read and includes much about the making of The French Connection. Robin Moore's original book that inspired the film—which Friedkin claimed to never have finished reading—can be found here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices

How much will a viewer tolerate? What if you took away all the quick and easy ways in which movies dole out information? What if you made the hero less-than-wholly-admirable and the villain less-than-wholly-terrible? Would audiences still come along for the ride in that brown Le Mans with Popeye Doyle as he tries to catch the sniper who missed him? William Friedkin bet that they would--and won. Join us for a conversation about The French Connection, the classic 1971 police procedural. Topics include the chase, of course, but also the ways in which Popeye Doyle is not Dirty Harry, how the film's perfect structure allows the viewers to go through a process along with the detectives, and how Popeye resembles a great literary figure from a novel that also ends in a thrilling chase. William Friedkin's memoir, The Friedkin Connection, is an engaging read and includes much about the making of The French Connection. Robin Moore's original book that inspired the film—which Friedkin claimed to never have finished reading—can be found here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

See the birth of the cinema verite style with William Friedkin's The French Connection, based on the true story of New York detectives Eddie Egan and Sonny Grosso, and how they brought down a decades old heroin smuggling ring. Gene Hackman plays Popeye Doyle and Roy Scheider plays his partner, Cloudy. It's our first episode of Gene Hackmonth! Join us! --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

Devin and James are back in the Den for another episode! This time we are deep diving into the FRENCH CONNECTION films of the 1970's! We examine whether NYPD detective Popeye Doyle (masterfully played by Gene Hackman) was ever intended to be seen as a hero in the Oscar-winning 1971 original based on the true story of a rough, racist cop's obsession to thwart a French drug kingpin. We also dig into its totally fictional sequel, released in 1975, and discuss whether it's a worthy watch to see Popeye pursue the villain who escaped him in real life (it is). And we also explore 1973's THE SEVEN-UPS, which we argue is at least a spiritual sequel, in which many of the original artists involved follow up with a closer look at Roy Scheider's character, who was Popeye's partner in the first film. These films still pack a punch decades later. They have proven to still be controversial, yet they shaped what we still know as the police procedural genre to this day, as well as daring to ask the question, "Ever pick your feet in Poughkeepsie?" And, oh yeah... THE CAR CHASES!!!!

BFG delivers another great podcast episode this week. Host Neal Pollack welcomes guest Michael Washburn to discuss the curious recent decision by The Criterion Channel to edit out a sequence featuring a racial slur from the 1971 Oscar-winning film, 'The French Connection.' Neal ties this decision into recent efforts to bowdlerize popular classic works of British fiction. And Michael points out that the film deploys that language to show that the main character, Popeye Doyle, is flawed, to say the least. They both agree that there's really no way to apply consistent standards of what's culturally acceptable across all films at all times. A really strange and ultimately cowardly act by Criterion, which, as the standard bearer of film culture, should know better.No one will ever be censoring 'Transformers: Rise of the Beasts.' Brave film critic JP Guinn went to see this film, which he found harmless and more in the gee-whiz spirit of the old Transformers cartoons. If you like to see robots beating each other up, he says, you will enjoy Rise of the Beasts. We also find out that as a child, JP alphabetized his Star Wars figures.Meanwhile, over on Max, Matthew Ehrlich endured the premiere of 'The Idol,' the controversial new show from Sam Levinson, creator of 'Euphoria.' Matthew's main criticisms are as follows: the show is not fun to watch and Lily-Rose Depp, while beautiful, doesn't exude superstar charisma like Lady Gaga or Madonna. Also, Vanity Fair reporters don't just wander onto a celebrity's estate, so the show gets its pilot's central conflict all wrong. Also, Matthew takes extreme issue with the main character's name, "Jocelyn." "Why not just call her Agnes?" he asks. Why not, indeed?Enjoy the show!

  Waffle on about The French Connection Hello and welcome to this edition of Waffle On Podcast in which Meds and Kell talk about this classic 1971 cop movie The French Connection. It stars the wonderful Gene Hackman and the always reliable Roy Scheider as Popeye Doyle and Cloudy. The lads also chat briefly about the latest tv they have been watching and of course any thing else that randomly comes their way.  Meds and Kell will be at CovCon on Saturday the 7th May with regular Waffle guest Peter so if you are there do come and say hello to them.  As ususal come and follow us on our Facebook group or drop us a line at waffleonpodcast@gmail.com.

Put up the Bat Signal! It's time for Matt, Alex, and Rocco to investigate the films that inspired Matt Reeves while making 'The Batman,' beginning with this hard-nosed crime thriller that won Best Picture. William Friedkin surrounds himself with New York's "Finest" for an "all gas, no brakes" approach to shooting a cop drama. And the Academy was like, "Sure, yes, this is exactly what we want right now." Gene Hackman, Roy Scheider, and Fernando Rey hold on for dear life through 'The French Connection' (1971).We dig into what qualities that Popeye Doyle and Bruce Wayne might share, what this kind of detective work foreshadows about the early crimefighting of Batman, and we find parallels in Frank Miller's iconic "Batman: Year One" series. Plus, by the end, you'll meet Cat Bat.The NeverEnding Movie Marathon is a weekly podcastic celebration of cinema. Dive deep into fan-favorite films (#NoStinkers!), thematically curated to enhance your movie viewing by hosts Matt Detisch, Alex Logan, and Michael Rocco.Find us on Twitter, Instagram, Facebook or at neverendingmoviemarathon.com

A classic is discussed! We're gonna require many themes and lists, plus the return of a long-dormant favorite. Then, Popeye Doyle turns to heroin?!

Phil and Dave visit 1971's French Connection to discuss Popeye Doyle's Obsession with getting the bad guy and Dave's obsession with all things Gene. Phil continues to glorify the work of Roy Schieder while bringing the conversation back to the movie at hand.

This week we're thrown into the streets of New York City by the corrupt cop Popeye Doyle in William Friedkin's Best Picture winning film The French Connection. However, after highlighting a couple other movies from this year we realized that it's not our choice for the top award. Listen in to find out what is!

It’s the late 1960s and Kentucky Fried Chicken’s new owner takes the rapidly expanding franchise public. America’s hottest new IPO makes dozens of employees instant millionaires, but not Harland Sanders, who sold his company for cash. Now brand ambassador, Sanders regrets his decision and attempts a coup. As civil war rages at Kentucky Fried Chicken, diner owner Truett Cathy in Georgia makes a life-changing decision: to open his own restaurant chain in the brand new frontier of the American shopping mall. But while Kentucky Fried Chicken and Chick-fil-A focus on growing their fiefdoms, a young donut shop owner in New Orleans turns his attention to creating the perfect spicy fried chicken recipe, and finds inspiration for its name from an unlikely source: a movie about an aging cop called Popeye Doyle. Listen to new episodes 1 week early and to all episodes ad free with Wondery+. Join Wondery+ for exclusives, binges, early access, and ad free listening. Available in the Wondery App https://wondery.app.link/businesswars.Pre-order our new book The Art of Business Wars now before it is released on April 13.Support us by supporting our sponsors! ZipRecruiter - Try ZipRecruiter FOR FREE at ZipRecruiter.com/BW. NetSuite - Let NetSuite show you how they’ll benefit your business with a FREE Product Tour at NetSuite.com/WARS.

For awhile, Gene Hackman was omnipresent in film. There's a joke in the movie PCU, where one of the frat boys is obsessed with proving that there's always a Michael Caine or Gene Hackman movie on TV, and sure enough between 1980 and 2000 (his most prolific two decades), he made thirty seven movies. Yet, after 2004's WELCOME TO MOOSEPORT, he abruptly retired and could not be lured back no matter how hard folks tried. So let's take a look at Hackman's amazing career - from his iconic turn as Popeye Doyle in THE FRENCH CONNECTION, through Lex Luthor in SUPERMAN- THE MOVIE, to perhaps his greatest latter-day role, Royal in THE ROYAL TENENBAUMS.

“Just answer me this: Do you…still pick your feet in Poughkeepsie?” A valid question and concern asked repeatedly by the one and only Popeye Doyle. This unconventional cop with a great intuition…at least most of the time…follows his next big lead as he tracks down a big drug deal in the making. With the support of his partner, and the begrudging help of his superiors, Popeye played by Gene Hackman shows the true success and drudgery of early 70s New York police work, along with one of the most thrilling car chases captured on camera. Will Popeye get his man, or will that subway car slip away? Check out Cinema Cemetery for the answer!3- Lawerence of Arabia4-All About Eve5- Gone With Wind 11-It Happened One Night12-Bridge on the River Kwai19-All The King’s Men20-The Lost Weekend21-The French Connection23-The Sound Of Music24-Casablanca25- All Quiet on the Western Front27-Rebecca28-In The Heat of the Night30-The Mutiny34-You Can’t Take It With You 35-Marty36-Mrs. Miniver 40-My Fair Lady42-Patton45-Gentleman’s Agreement49-Hamlet50-Cimarron 52-Ben Hur58-Midnight Cowboy60-Best Years of Our Lives62-From Here to Eternity63-Oliver!64-Around the World in 80 Days65-The Apartment66-The Great Ziegfeld 67-A Man Of All Seasons68- The West Side Story70- Wings71-Grand Hotel72- Tom Jones77-Life of Emil Zola79-How Green Was My Valley80-An American in Paris85-Going My Way89-Greatest Show On Earth90- Broadway Melody 91-Cavalcade92-Gigi

Connection from Previous Film: Russell Crowe. The team seeks out Redemption with Popeye Doyle and SID on their final pass before they FLY INTO THE HERO'S JOURNEY! Dan gets flighty; Josh is ready to run; Tom stretches the cheese. Twitter: @FirepitCCE Facebook: https://www.facebook.com/firepitcce/ Discord: https://discord.gg/Yyrg88q Recorded on 12 December 2020

A classic of Hollywood crime, The French Connection paints a bleak picture of life and justice in America, as Gene Hackman's Popeye Doyle demonstrates that no matter how low the drug dealers he pursues, he can sink lower. We ask what its depiction of New York's underbelly and the accuracy of Doyle's hunches despite his revolting behaviour says about the filmmakers, and consider Pauline Kael's assertion that the film is "what we once feared mass entertainment might become". Underneath the iconic style and unforgettable chase, is there anything meaningful to The French Connection? Recorded on 14th July 2020.

Do you pick your feet in Poughkeepsie?". That question kicks off our review of Ralph's pick...1971's The French Connection. This Best Picture winner is gritty crime drama that stars Gene Hackman in his Academy Award winning performance as Popeye Doyle and co-stars Roy Scheider. Directed by William Friedkin and shot documentary style and features one of the best car chases ever. Let's see what the gang thinks.

The Bad Boyz are back for a final dose of HACK-A-THON 2020! This week, Jon & David are breaking down arguably Gene Hackman's finest work, THE FRENCH CONNECTION! The true story behind one of the biggest drug busts in history, the real people these characters were based on, William Friedkin's arrival into New Hollywood, the grittiness of the NY filming locations, the lasting impact of the film and, of course, lots and lots of Gene Hackman! The Lads are breaking it all down! Popeye Doyle is bad news but a good cop.... it's THE FRENCH CONNECTION! Twitter/IG: @reconcinemationfacebook.com/reconcinemationCover and Episode Art by Curtis Moore (IG: curt986)Theme by E.K. Wimmer (ekwimmer.com)

Buckle up Rye Nation because we are diving head first into a cask we're calling,"The Films of William Friedkin," and up first is his Academy Award winning, The French Connection. Journey with us as we head to NYC and go though the gauntlet with our "protagonist" Popeye Doyle. Is this film the worthy chase it deserves to be or have other films handled this better? Our Flight for the week asks, "What are your top 3 Anti-Heroes on film?" We wrap up with a Nightcap discussing our favorite films set in New York City. So pour some whiskey, grab your Pork Pie hat, and get ready to pick your feet in Poughkeepsie. Cheers!

“They say Eddie Egan (aka Popeye Doyle) stepped on the gas and that Sonny Grosso would step on the brake- no… Back then, Eddie was the Doberman Pinscher and Sonny held the chain.” -Randy Jurgensen Randy Jurgensen has lived an amazing life. The former NYPD Homicide Detective, Korean War veteran turned film consultant, producer, writer […]

Tysto is back to chat about the second episode of our police theme month, the sequel to the French Connection movies, Popeye Doyle. It's actually not bad, well shot and acted but it's a bit of a slog. Let us know in the comments below or by email (dropthepilot@gmail.com) what you think of the new format for longer pilots. Tryin' something new, here, people, gotta avoid that Baffled length again. End music- Axel Broke by Matt Harris.

Tysto is back to chat about the second episode of our police theme month, the sequel to the French Connection movies, Popeye Doyle. It's actually not bad, well shot and acted but it's a bit of a slog. Let us know in the comments below or by email (dropthepilot@gmail.com) what you think of the new format for longer pilots. Tryin' something new, here, people, gotta avoid that Baffled length again. End music- Axel Broke by Matt Harris.

This is easily the most action-packed Best Picture we've watched yet, with car chases, shootouts, stakeouts, and all the primal elements of a cops-and-robbers movie. There's a freshness to it, though, a sense that the genre was being invented before our eyes with no conventions yet in place, no holds barred, no squeamishness from the ugly truths about either side. Gene Hackman is simply fantastic as the mostly-loathsome Popeye Doyle, and the direction by William Friedkin is unforgettable. Is all of this lost on Enzo, who has only seen 25 movies in his whole life? Not exactly, though he feels a bit overwhelmed by the experience. If you enjoy hearing people get blown away by a movie in real time, this episode's for you. See acast.com/privacy for privacy and opt-out information.

The French Connection II: Yes, that's right two. Popeye Doyle travels to Paris to find "Frog One" and he'll stop at nothing this time to nail him for good. Gene Hackman is brilliant once again, as Doyle, in this tight, tense, action packed crime drama directed by John Frankenheimer. Look out Paris, Popeye's in town! "Est - ce que tu t'es gratté les pieds à Poughkeepsie?" Please subscribe to our show!

This week Paul & Amy hit the streets for 1971's The French Connection! They discuss whether Popeye Doyle is actually a hero, what went sideways during that incredible chase scene, and who the real-life inspirations for Doyle & Russo were. Plus: an interview with cop-turned-actor Brian Danker about what French Connection gets right and wrong about police work. Tell us your hot take about next week's film, Titanic, by calling the Unspooled voicemail line at 747-666-5824! Follow us on Twitter @Unspooled, and don’t forget to rate, review & subscribe to us on Apple Podcasts.

Who can take down a bad guy better - Popeye Doyle or James Bond? Gene Hackman and Sean Connery each engage in very different car chases in their respective 1971 films. Hackman won Best Actor in William Friedkin's gritty Best Picture winner "The French Connection." After stepping away from the role of James Bond for one film, Connery returned for one of the zaniest entries in the Bond franchise which includes a diamond encrusted satellite of destruction and an elephant who's good at slots.

With Tom gone today in Madsion, Greg and Darik concentrate on that sweet Houston/Seattle game yesterday. They touch on; Deshaun Watson and Russell Wilson as the Top 2 QB's for ROS, Bill O'Brein forever an idiot, Shady looking great, Popeye Doyle, Ju-Ju is working, #FreeMartavis, some unexpected WR's, MNF Football predictions, NFL overtuning obvious TD's, NFBCDrafts, World Series, juiced baseballs, and the Arizona Fall League.

This week, the guys pick their toes in Poughkeepsie as they discuss one of the seminal car chase films in cinema history, 1971's The French Connection. In it, we go all 'trigger warning' on Popeye Doyle, one of the most uncouth heroes of any film ever and learn why Matt carries a pistol with director William Friedkin's name on it. And just how good is that car chase sequence? We analyze the heck out of it! All this and more, this week on the Podcast. Thanks for listening! Be sure to find us on social media @oscarwatchpod and drop us a line anytime at oscarwatchpodcast@gmail.com.

One of New York’s finest cities gets its big moment with the above line of dialogue, snarled at a perp by the out-of-control “Popeye” Doyle, played by Gene Hackman, in his break through role. We dedicate this episode to his co-star, Roy Scheider, who passed away on February 10th, 2008. A stalwart and capable actor who appeared in another of our Perfect Movies, JAWS. Ironically, Robin Moore, author of the novel The French Connection, passed away on the day this show was broadcast, at the age of 82. Not our fault!!

http://searchforschlock.com/media/podcasts/sfs-077-Nighthawks.mp3 Download MP3 Sylvester Stallone (Rhinestone) and Rutger Hauer (Blind Fury) star in this adaptation of the beloved Edward Hopper oil painting (not really) that was originally intended to be the third Popeye Doyle movie (that one's true). Stallone plays a decoy cop, dressing up like a lady to lure New York's ever-present muggers, until he and partner Billy Dee Williams are recruited to track down Wulfgar (Hauer), a terrorist based on Carlos the Jackal. But this time, to get the bad guy...he just might have to dress up like a lady. This is Stallone near the height of his popularity and Hauer's first American role, so the burning question is: how have we never heard of this movie? Is it just that terrible? Let's find out together, brave listener. Original post located at searchforschlock.com.

July 4-10,1987 This week Ken welcomes old friends, David and Christopher Walsh, collectively known as The Walsh Brothers. Ken, David and Chris discuss family dynamics, alternate universe Walsh Brothers, why Ken is not a conservative Southern politician, inserting the disc, commuting to school, the subtleties of Boston public transportation,  Texas Chainsaw Massaca, when your childhood home because an area of refuge, Charlestown, living in the projects, cops, your non-comedian brother getting a TV credit before you do, Max X, TV38, Boston, more Boston, LA Sex porches, Kari Wuher, Monday Night's CBS line up, Ken's status as a sophisticated Boy, Alf, George Carlin, your preferred alias, The Spectre, Valerie, calling family meetings, being drawn to stability, love of absurd comedy, the terror of a minor key theme song, Alan Thicke: Musician, the terror of the news, European Vacation, classic video store memories, Corvette Summer, LA Mall filming locations, Chopping Mall, Alyssa Milano, cartoon boobs, disabled actors in starring roles, The Wizard, Fast Times, Ed O'Neil, Popeye Doyle, Dutch, Mike Hammer vs. Sledge Hammer, Perfect Strangers, when Dan Fielding was in Charlestown, finding a way, Highway to Heaven, angelic vigilante justice, Head of the Class, fighting prostitutes, Night Court, MacGuyver, Dana Delaney, Hockey, the opiate problem in Charlestown, Star Man, Channel pliers, Somerville Lumber, theme restaurants, Indiana Jones knock-offs, Where the Boys Are, Darkman, LA Law, Gremlins, Brocktoon, Mr. Belvidere's Balls, going Commando, HBO's Made for TV Movie quality, hiding the news, 21 Jump Street, and the art of prank phone calls.

In the summer of 1957, Robert Lipsyte answered a classified ad. He was an English major who needed some cash, and The New York Times was looking for an editorial assistant. He went to work on the night shift in the sports department, serving as a copyboy for the surly old-timers. He didn’t like sports, and he hated the job. This would be just a brief stop on the path to literary fame, he presumed. But one assignment followed another at the paper. Along the way, Bob crossed paths with Malcolm X, the Beatles, and the NYPD narcotics detective who would be immortalized as Popeye Doyle. Eventually, by accident, he became a mainstay of the Times sports page. He did end up writing novels, both for adults and young adults, and he earned an Emmy award in television journalism. But it was in sports writing that he made a lasting mark in American journalism–as a reporter covering the saga of young Muhammad Ali, in two stints as the Times sports columnist, and as the author of some of the most trenchant commentaries on sports and contemporary society, most notably his 1975 book SportsWorld: An American Dreamland. In his memoir, An Accidental Sportswriter (Ecco, 2011), Bob unfolds this story with the literary style of an English major and the wry humor of a former fat kid. He tells of his long, sometimes stormy relationship with Ali, his run-ins with Mickey Mantle, tennis lessons with Althea Gibson, admiring friendship with Howard Cosell and friendly disagreements with Bob Costas, and his respect for Billie Jean King, his choice as the most important athlete of the century.  Bob does not shy from stating his opinions. But he also does not hesitate to admit when he has been wrong. His memoir makes for an amusing, absorbing, and insightful picture of postwar American culture–and sports. Hopefully, our interview captures just of bit of that. Bob was also a guest on last year’s Book List episode of the podcast. You can find that episode, which features Bob’s choices for the best sports books of 2011, in the New Books in Sports archive. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the summer of 1957, Robert Lipsyte answered a classified ad. He was an English major who needed some cash, and The New York Times was looking for an editorial assistant. He went to work on the night shift in the sports department, serving as a copyboy for the surly old-timers. He didn’t like sports, and he hated the job. This would be just a brief stop on the path to literary fame, he presumed. But one assignment followed another at the paper. Along the way, Bob crossed paths with Malcolm X, the Beatles, and the NYPD narcotics detective who would be immortalized as Popeye Doyle. Eventually, by accident, he became a mainstay of the Times sports page. He did end up writing novels, both for adults and young adults, and he earned an Emmy award in television journalism. But it was in sports writing that he made a lasting mark in American journalism–as a reporter covering the saga of young Muhammad Ali, in two stints as the Times sports columnist, and as the author of some of the most trenchant commentaries on sports and contemporary society, most notably his 1975 book SportsWorld: An American Dreamland. In his memoir, An Accidental Sportswriter (Ecco, 2011), Bob unfolds this story with the literary style of an English major and the wry humor of a former fat kid. He tells of his long, sometimes stormy relationship with Ali, his run-ins with Mickey Mantle, tennis lessons with Althea Gibson, admiring friendship with Howard Cosell and friendly disagreements with Bob Costas, and his respect for Billie Jean King, his choice as the most important athlete of the century.  Bob does not shy from stating his opinions. But he also does not hesitate to admit when he has been wrong. His memoir makes for an amusing, absorbing, and insightful picture of postwar American culture–and sports. Hopefully, our interview captures just of bit of that. Bob was also a guest on last year’s Book List episode of the podcast. You can find that episode, which features Bob’s choices for the best sports books of 2011, in the New Books in Sports archive. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of The Cine-Files, Steve Morris and John Rocha REPOST their episode on THE FRENCH CONNECTION in honor of the passing of Gene Hackman. Steve and John record a new intro for this film exploring Hackman's performance as Popeye Doyle as a tribute to his work. Sit back after the introduction and enjoy Steve and John going scene by scene thru this movie and explore the acting, direction, the writing and the effect the film has on us today.If you haven't seen this incredible film you can buy or stream it right here: https://amzn.to/4boIZsJDon't forget to support The Cine-Files at https://www.patreon.com/TheCineFilesTo purchase any film we feature at https://www.cine-files.netFacebook: https://www.facebook.com/TheCineFilesPod/?ref=bookmarksThis episode is sponsored by/brought to you by the following sponsors:BETTER HELP: BetterHelP is the world's largest online therapy service, facilitating millions of video sessions, voice calls, chats, and messages between therapists and members every month. Since 2013, our network of over 30,000 licensed, accredited, and board-certified therapists have helped more than 4,000,000 people face life's challenges and improve their mental health. EXPLORE OPTIONS THAT WORK FOR YOU TODAY AT: www.betterhelp.comHIMS. Hims is a one-stop telehealth service for men's wellness and care, providing treatment options for hair loss, ED & more. Check out HIMS at: www.hims.comTRUDIAGNOSTIC. Epigenetic Experts &
Aging Authorities that provide DNA based insights for aging, nutrition & more! At TruDiagnostic, we are firm believers that harnessing the power of epigenetic data can help the world live longer and healthier lives! Our TruHealth test ensures your nutritional, metabolic, immune, and cognitive health are functioning at their peak to support longevity goals. Our TruAge test helps you track those goals and stay ahead of the aging curve by measuring your biological age, speed of aging, and key longevity metrics. VISIT THEM AT: www.trudiagnostic.comFOLLOW:Follow John Rocha: @therochasaysFollow Steve Morris: @srmorrisFollow us on Twitter @cine_filesFollow us on Instagram @thecinefilespodcastOur Sponsors:* Check out Hims: https://hims.com/CINEFILES* Check out TruDiagnostic and use my code CINEFILES for a great deal: https://www.trudiagnostic.comSupport this podcast at — https://redcircle.com/the-cine-files/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy