Review of The French Connection (1971) by Pauline Kael for The New Yorker — 09 Dec 1990
The real problems, however, are that Friedkin's nervy, noisy, undisciplined pseudo-realism sits uneasily with his suspense-motivated shock editing; and that compared to (say) Siegel's Dirty Harry, the film maintains no critical distance from (indeed, rather relishes) its 'loveable' hero's brutal vigilante psychology.
You can read the full review where it was originally posted online.
This review of The French Connection (1971) was written by Pauline Kael and published by The New Yorker on 09 Dec 1990.
The French Connection has generally received very positive reviews.
Was this review helpful?
Yes
No
