Tag Archives: Roy Scheider

#71 Favorite Film, 1971 Films, Action, Best Picture Oscar Winners, Crime Thriller, Fernando Rey, Gene Hackman, Marcel Bozzuffi, Roy Scheider, Thriller, Tony Lo Bianco, Top 100 Films, Top 250 Films, William Friedkin

The French Connection-1971

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The French Connection-1971

Director William Friedkin

Starring Gene Hackman, Fernando Rey, Roy Scheider

Top 250 Films #71

Scott’s Review #342

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Reviewed January 9, 2016

Grade: A

The French Connection was the first R-rated film to win the Academy Award for Best Picture in 1971.

This praise, similar to The Silence of the Lambs being the first horror film to win Best Picture in 1991, is well worth noting and quite honorary.

The film succeeds, both for other critics and me, due to its unique camerawork style, shot in a documentary manner, and the use of quick edits.

It is much more intricate in every way than the traditional crime thriller.

Gene Hackman stars as the feisty detective, Jimmy “Popeye” Doyle, who, along with his partner, Buddy “Cloudy” Russo (Scheider), is determined to crack the case of a massive heroin smuggling syndicate from France.

The narcotics are flowing into New York City, and the duo is determined to get to the bottom of the drug ring, figuring out who the mastermind is and defeating their foe.

The primary culprit is a suave French drug lord named Alain Charnier, brilliantly played by Fernando Rey.

Throughout the film, the action is nonstop, traversing Manhattan and Brooklyn by subway and car as Popeye becomes increasingly obsessed with the case.

Director William Friedkin, who also directed the legendary 1973 film, The Exorcist, deserves a heap of praise for creating a movie of this caliber. All can enjoy the French Connection, and it is well beyond the limitations of a “guy film”- it is much more than that.

The editing and frenetic pacing work wonders for the film, all the while not ruining the experience or overshadowing the good plot. Quite simply, the film is a chase across New York City.

Friedkin distinguishes the boroughs by making Manhattan seem sophisticated and stylish, while Brooklyn comes across as dirty, grizzled, and drug-laden.

The settings are perfect.

The best scene in the film is the well-known car chase throughout New York City. Popeye is determined not to lose his man, the man riding in a subway on an elevated platform. Popeye steals a car and proceeds to chase the subway, narrowly missing pedestrians, including a woman with a baby carriage, as he recklessly weaves in and out of traffic at a high speed to keep pace with the train.

This is a phenomenal scene as the excitement and tension continue to build.

The film’s conclusion and final scene are cynical and leave the audience perplexed and unsure of what has transpired.

The French Connection is open to reasonable discussion and even interpretation, a novel aspect of the action film.

Providing a tremendous glimpse into 1970s Manhattan and Brooklyn, The French Connection is an exciting film that oozes with thrills, car chases, and a good story.

The film is unique in style and still holds up incredibly well- one of my favorites in the action genre.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Richard Friedkin (won), Best Actor-Gene Hackman (won), Best Supporting Actor-Roy Scheider, Best Screenplay Based on Material from Another Medium (won), Best Sound, Best Cinematography, Best Film Editing (won)

#234 Favorite Film, 1971 Films, Alan J. Pakula, Charles Cioffi, Donald Sutherland, Jane Fonda, Jean Stapleton, Rosalind Cash, Roy Scheider, Sylvester Stallone, Thriller, Top 250 Films

Klute-1971

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Klute-1971

Director Alan J. Pakula

Starring Jane Fonda, Donald Sutherland

Top 250 Films #234

Scott’s Review #1,351

Reviewed March 12, 2023

Grade: A-

I’ll gladly watch any film Jane Fonda appears in, especially early treats like They Shoot Horses, Don’t They (1969), Coming Home (1978), and On Golden Pond (1981), but Klute (1971) trumps them all.

Fonda plays a prostitute, one with intelligence, manipulation skills, and deep introspective thought. Teamed with Donald Sutherland, who is quite extraordinary, the duo sink their teeth into a taut psychological thriller chasing a serial killer.

The inventive part is that the film is hardly a whodunit, yet it uses long sequences of calm dialogue and few editing breaks, making it stand out with great style and substance.

Bree Daniel (Fonda) is a New York City call girl who becomes absorbed in an investigation into the disappearance of a business executive. Detective John Klute (Sutherland) is hired to follow Bree and eventually begins a romance with her.

Klute is not the only one on Bree’s trail. A killer is on the loose, having killed two prostitutes with whom Bree is friendly. They must figure out the deadly puzzle before it’s too late.

Fonda plays Bree wonderfully. Gorgeous and well-dressed, Bree is aching to leave the business and launch an acting or modeling career, but she keeps striking out on both fronts. Fonda assures the audience that Bree is brilliant and uses her smarts to get the best of the men she beds.

Throughout several scenes in which she chats with her shrink, we learn a great deal about Bree and the workings of her mind. While she cringes at a dull life of being married and darning socks, she also craves stability and self-worth.

She aptly embraces her lifestyle, but on her terms. When briefly jaded by a pimp played by Roy Scheider, I cringed because Bree is better than that.

I only wanted to learn a bit more about Bree’s childhood and how she wound up as a call girl, but at the same time, the mystique works well. The ambiguity only makes Bree more complex.

Pre-conceived notions or sub-par writing might have had the character dubbed the overdone ‘hooker with the heart of gold’ title, but there are no cliches to be found.

Written by Andy and Dave Lewis and directed by Alan J. Pakula, they construct a complex film with equal focus on the intriguing serial-killer pursuit and the workings of its lead female character.

Surprisingly, the men achieve both goals. In later years, the screenplay might have been written by a female, but it’s impressive how boldly they write Bree.

The character of Klute is also well-written. Similarly shrouded in mystery, we know that the investigator is the strong, silent type and falls for Bree hook, line, and sinker. Has he been married? Does he have kids? Why the fascination with Bree?

He only mirrors the audience as we become equally smitten with her. The fact that he knows the killer is icing on the cake, adding rich texture to the storytelling.

The other facets of Klute are strong from a technical and location perspective.

The interior sequences, mostly of Bree’s apartment building, are superior, with dull lighting and an eerie musical score to set the proper mood. Downsizing from Park Avenue, Bree has a decent Manhattan apartment, but with dated appliances and unflattering lighting.

The exterior New York City location shots are fun to look at and help a native tri-state area resident identify various neighborhoods.

Early 1970s New York City was not a pretty sight, and the Wall Street area and garment district, where the riveting action culminates, are terrific.

Delightful is the scene involving Jean Stapleton as a no-nonsense secretary. Forever remembered as Edith Bunker on the television series All in the Family, it’s great fun seeing her in Klute and remembering that she appeared in films before her television success.

Klute (1971) is a taut, superior thriller that sometimes is a bit too complex, but it scores a winning run with its marriage of a character study and intelligent writing.

Thanks to Fonda and Sutherland, and a screenplay that bravely goes left of center when it easily could have gone straightforward, Klute is a memorable piece of cinema.

Oscar Nominations: 1 win-Best Actress-Jane Fonda (won), Best Original Screenplay

1976 Films, Crime Thriller, Dustin Hoffman, John Schlesinger, Laurence Olivier, Richard Bright, Roy Scheider, Thriller

Marathon Man-1976

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Marathon Man-1976

Director John Schlesinger

Starring Dustin Hoffman, Laurence Olivier, Roy Scheider

Scott’s Review #1,359

Reviewed April 29, 2023

Grade: A-

Writer, William Goldman, was involved in two politically charged, taut thrillers released in 1976 that can easily be watched back to back. Fast-paced and rapidly edited, thrilling action-packed offerings are on the menu.

The Academy Award-winning All the Presidents Men (1976) and Marathon Man (1976) are highly recommended since both are in the same vein. They are part of why I love 1970s cinema so much freedom and rich character development combined with a sole vision are admirable traits.

John Schlesinger, famous for Midnight Cowboy (1969) and other films, directs.

Both films are written by Goldman and each stars actor Dustin Hoffman so the similarities are endless. And yet, each has its own identity.

In Marathon Man, Thomas “Babe” Levy (Hoffman) is a Columbia graduate student and long-distance runner, residing in New York City. His older brother, Doc (Roy Scheider), is a government agent chasing down a Nazi war criminal named Szell (Laurence Olivier).

Babe does not know Doc’s career until a tragic event finds him involved in a plot of stolen gems and sadistic madmen. Even his girlfriend, Elsa (Marthe Keller), becomes a suspect as everything Babe believes to be true is suddenly turned upside down.

At over two hours there is not a slow moment in the film.

We meet Babe as he runs throughout New York City so that the audience learns his obsession with running could correlate to his need to escape from something.

This proves to be true when we learn the brother’s father committed suicide after being investigated during the Joseph McCarthy era when civilians were suspected and accused of being communists.

So, the backstory made me sympathize with Babe and Doc and fleshed them as characters. Hoffman and Scheider are superb and show the different nuances between the personalities of the brothers. Doc is sophisticated and Babe is common, though highly intelligent.

The musical score, created by Michael Small must be mentioned. Oftentimes in film, the score serves as more or less ‘background music’ and can go unnoticed. This is not the case in Marathon Man and several times I noticed the music-enhancing sequences, especially when peril was involved.

I was pleased when I learned that the iconic Laurence Olivier plays the villain, Szell, in the film. He is believable as a vicious German Nazi who specializes in a unique brand of dental work. First blonde and then bald, the physical nature of the role is showcased. He also calmly performs torturous tactics using dental tools.

Marathon Man is made up of a series of scenes that will either enthrall, make the audience squirm, or in some cases both.

Speaking of dental work, any viewer who has a phobia or dislike of going to the dentist may want to fast forward past the sequence when Babe is forced to endure some stylized poking and prodding. Szell and his henchmen are convinced that Babe knows more than he is letting on and are determined to make him reveal all.

Early on, a terrifying scene centering on road rage in Manhattan is as good as it gets and reveals the gist of the plot. Nazis, anti-semitism, and a fiery gasoline truck encompass a speedy and argumentive car chase scene.

The sequence is heart-racing, nail-biting, and revealing.

Others flesh out the film like a quiet lunch at a lovely French restaurant. Doc takes Babe and Elsa out where they dine on lavish courses of creamy, sophisticated cuisine and wine. The richness of the food and culture enhances the earlier scenes set in Paris.

The final thirty minutes of Marathon Man are the best part. A series of shootouts in the suburban rural farmland and foot chases in downtown Manhattan culminate in a showdown between Babe and Szell near a water tank in Central Park.

A strong appeal for viewers is experiencing scene after scene in New York City as many exteriors were shot there.

The plot of Marathon Man (1976) is sometimes too complicated and all events do not add up satisfyingly. The who’s who and realism is a tough sell but it hardly matters. The film entertains and is a high-energy thrill ride and that is more than enough for me.

Oscar Nominations: Best Supporting Actor-Laurence Olivier

1978 Films, Horror, Keith Gordon, Murray Hamilton, Roy Scheider, Thriller

Jaws 2-1978

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Jaws 2-1978

Director Jeannot Szwarc

Starring Roy Scheider, Lorraine Gary

Scott’s Review #1,307

Reviewed October 13, 2022

Grade: A-

Because of the enormous critical and commercial success of Jaws in 1975, a sequel was created. Important to keep in mind is that in the mid-1970s it was not yet common to produce sequels especially if the director, Steven Spielberg, had no interest in participating.

Jaws 2 (1978) was an enormous box-office success but the reviews were only mixed.

I adore the film which mixes thrills with the horror genre and wisely sets up the kills like a slasher film.

The teenagers are savagely attacked and killed by the Great White shark, one by one style, using a lurking and effective musical score.

The film’s tagline, “Just when you thought it was safe to go back in the water…” has become one of the most famous in film history and has been parodied and homaged several times.

I’d like to assume it led to a healthy almost now mandatory helping of subsequent sequels of other successful films.

Unfortunately, Jaws 2 also spawned a couple more sequels of its own which were piss-poor and laughable but we won’t get into that here.

Fun fact is that the film was nearly as troubled as Jaws was. The first director for the film, John D. Hancock,  was deemed incompetent and was replaced by Jeannot Szwarc.

Star Roy Scheider, who only reprised his role to end a contractual issue with Universal, was also unhappy during production and had several heated exchanges with Szwarc.

Maybe that should have been a sign not to make any more Jaws films.

Years after the shark attacks that left Amity Island reeling, Sheriff Martin Brody (Scheider) finds new trouble lurking in the waters and must rise to the occasion.

To add conflict, Mayor Vaughn (Murray Hamilton) wants to end the beach town’s poor reputation. But the sudden disappearance of a pair of divers suggests that something is up. When Sheriff Brody voices his warnings about holding an exciting sailing competition, everyone thinks he is suffering the effects of post-traumatic stress.

That is until a shark fin is spotted in the water sending the town into panic mode.

There’s no logical plot reason to make Jaws 2 but somehow I’m okay with that. The film entertains with enough frights and jumps to satisfy and the formulaic approach works well.

Besides the enthralling final sequence when Brody must rescue his sons Mike and Sean (Mark Gruner and Marc Gilpin), the opening sequence involving scuba divers and a female water skier is quite enticing and the best part of the film.

The musical score by John Williams who fortunately returned to the fold is fabulous and enhances any peril the characters face. The slick and clever approach gives the audience a clue that danger lurks nearby but we don’t know when or where the shark will strike.

I mentioned slasher films earlier and this formula is used in Jaws 2. As the teens set sail for the competition it is good fun to wonder who will get killed and who will live to see another sunny beach day.

Despite Scheider not wanting to do the film, you’d never know it by his terrific acting. He doesn’t phone in his performance and provides macho swagger and muscle. He’s everyone’s favorite dad who only wants to save and protect.

Jaws 2 (1978) attempts to scare and entertain and it succeeds. There is little character development but it’s not the type of film that needs deep texture.

The reason to watch is to see folks who intend to enjoy the water get attacked and ripped to shreds.

1975 Films, Action, Adventure, Horror, Murray Hamilton, Richard Dreyfuss, Robert Shaw, Roy Scheider, Steven Spielberg, Thriller

Jaws-1975

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Jaws-1975

Director Steven Spielberg

Starring Roy Scheider, Richard Dreyfuss, Robert Shaw

Scott’s Review #1,240

Reviewed March 28, 2022

Grade: A

The directorial breakthrough by the iconic Steven Spielberg is Jaws (1975). The film is such a legendary and familiar project that even stating the name to pretty much any human being immediately conjures images of a man-eating great white shark and the unforgettable ‘duh-duh, duh-duh’ musical score.

It’s the film that famously made people afraid to go into the water just as Hitchcock’s 1960 masterpiece Psycho made people afraid to take a shower. When I have to be near the ocean I always think of this film.

Jaws is a hybrid horror/thriller/adventure/action film whereas the subsequent sequels were all straight-ahead horror films that cast more teenagers, and some better than others.

Spielberg teaches a valuable lesson that much can come from very little and that a small budget can create greatness. What he accomplishes with Jaws is admirable, to say the least.

With Jaws, the story is more about the attempts of three men to destroy a killer shark and their relationship with the shark itself. The scary aspect, always terrific in horror, is we do not know what the shark’s motivation is. Why does it kill?

It’s a brilliant film that holds up well decades later despite the shark feeling less authentic as the years go by. But, the time a film is made must always be kept in mind.

When one summer day a young woman is killed by a shark while skinny-dipping near the New England tourist town of Amity Island, police chief Martin Brody (Roy Scheider) wants to close the beaches. He comes into conflict with the mayor, Larry Vaughn (Murray Hamilton) who overrules him, fearing that the loss of tourist revenue will negatively affect the town during its summer season.

Dismissed as a mere boating accident, the great white shark then kills a young boy in full view of a beach crowd resulting in panic and mayhem. It’s as if the shark is determined to be taken seriously.

Oceanographer, Matt Hooper (Richard Dreyfuss) and grizzled ship captain Quint (Robert Shaw) offer to help Brody capture the killer shark, and the trio engages in an epic battle with the beast.

Jaws is a film that can be viewed multiple times and provides sheer pleasure each time. Forgetting the horror elements, the film provides adventure and heart-pounding thrills per minute once the men dare to try and foil the shark.

The fun, as in any film of this kind, is not knowing when or where danger will strike, only that it inevitably will come.

Scheider excels in his household name-making role as the determined police chief. He cares deeply about the townspeople and is therefore a likable hero. During frequent scenes, he gazes out to the water, a troubled look on his face, pained and feeling responsible for the deaths.

The audience empathizes with him.

Lorraine Gary, who would have a lead role in later films with poor results, is terrific as the supportive yet challenging wife, Ellen. She is the yin to his yang and it comes across on-screen.

The best scenes of the film are the very first one when the girl is eaten by the shark and the later one when Brody yells at everyone on a crowded beach to flee the water. Munching on the first victim, this is the scene where the dreaded music makes its debut. From this point, the audience knows that once this music is heard it means the shark is nearby.

In the other scene, the panic caused is breathtaking and palpable and sympathy is felt for Brody. He obediently takes the blame for the chaos and the deaths and makes it personal when his son is victimized. The scene sets the tone for the scramble and mayhem.

Jaws (1975) has it all: adventure, thrills, horror, action, a hero, and blood. The technical aspects are astounding with underwater sequences and effects that remain viable.

It arguably created what has come to be known as the summer blockbuster.

Oscar Nominations: 2 wins-Best Picture, Best Film Editing (won), Best Original Dramatic Score (won), Best Sound (won)

2003 Films, Bruce Dern, Clint Eastwood, Dennis Hopper, Documentary, Ellen Burstyn, Francis Ford Coppola, Jon Voight, Julie Christie, Martin Scorsese, Milos Forman, Pam Grier, Paul Schrader, Peter Bogdanovich, Robert Altman, Roy Scheider, Sissy Spacek, Sydney Pollack, William Friedkin

A Decade Under The Influence-2003

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A Decade Under the Influence-2003

Director Ted Demme, Richard LaGravenese

Starring Francis Ford Coppola, William Friedkin

Scott’s Review #392

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Reviewed April 5, 2016

Grade: B+

Produced by the cable network Independent Film Channel (IFC), A Decade Under The Influence explores the decade of 1970s film, a decade that was arguably the most creative and liberating to filmmakers and audiences alike.

A period in film defined by the directors securing creative freedom instead of the studios, where artists instead of corporations finally ruled the roost. A Decade Under The Influence gives us an overview of the era.

Despite some conspicuous omissions, I enjoyed this informative piece a great deal.

The documentary is divided into numerous segments including sections on women in film, the transition into a different period in Hollywood, and the subsequent close of the decade.

The interviews are plentiful including a who’s who of stars: Martin Scorsese, Ellen Burstyn, Clint Eastwood, Robert Altman, Julie Christie, Francis Ford Coppola, and numerous other influential directors, actors, and filmmakers.

Each individual describes his or her perspective on 1970s cinema, and personal anecdotes of experiences or challenges are shared.

Ellen Burstyn, for example, describes how the success of The Exorcist afforded her a plethora of other film offers, but all of the roles were of prostitutes, dutiful wives, or women in peril.

She needed roles more stimulating than those so she chose to star in Alice Doesn’t Live Here Anymore, which was a much better-written role. What I found a bit sad is how there are still limited, layered roles for women in Hollywood to this day unless one goes the independent film route, which this documentary touts as a savior.

Francis Ford Coppola relays how The Godfather was never expected to be a success, but rather, how he was chosen to direct the film merely because he worked for cheap and was Italian-American.

How ironic that the film became such a monumental success and influential to film making as a whole for generations to come.

The documentary, at times, seems like an overview of the decade, with many clips of classic 1970s cinema interspersed with the talking points.

Despite being three hours in length, I still felt that there was so much more than the documentary could have explored. Not surprisingly, the stars granting interviews were granted heavy screen time for their films.

The documentary was fine, but could have delved much deeper- I could see a multiple-disc set totally of ten or more hours dedicated to the decade.

One conspicuous omission was Robert Altman’s Nashville, arguably, the best film of the decade. While it was briefly mentioned, and a still frame of a scene from it did appear, I felt that it warranted more dissection and discussion.

This was more surprising given that Altman was interviewed for the documentary.

Another miss was Halloween or any mention of John Carpenter films. Halloween influenced many horror films to come and The Exorcist received heaps of coverage, undoubtedly because star Burstyn and director William Friedkin appear at length throughout the production.

Additionally, in the horror genre, Black Christmas (a highly influential horror film) was not mentioned at all.

A celebration of my favorite decade of cinema, A Decade Under the Influence is a documentary that is a basic must-see for fans of 1970s cinema, or film students perhaps immersing themselves into the world of great film for the first time.