法国贩毒网

动作片美国1971

主演:吉恩·哈克曼,费尔南多·雷伊,罗伊·谢德,托尼·洛·比安科,马塞尔·博祖菲,Frédéric de Pasquale,比尔•希克曼,Ann Rebbot,Harold Gary,Arlene Farber,埃迪·伊根,André Ernotte,桑尼格鲁索,Benny Marino,Patrick McDermott,阿尔·法恩,弗兰克·阿多尼斯,罗伯特·达赫达赫,萨丽娜·C·格兰特,乔·罗·格里普,桃乐丝·麦卡锡,查尔斯·麦格雷戈,Burt Richards,罗伯特·威尔

导演:威廉·弗莱德金

 剧照

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更新时间:2024-04-11 05:56

详细剧情

  腰缠万贯的法国富豪阿兰(费尔南多·雷依 Fernando Rey 饰)手上运作着全球最大的海洛因走私网,警方多番追踪仍无法将其落网,卧底警察也被残忍杀害。而在另一头的纽约城,侦探道尔(吉恩·哈克曼 Gene Hackman 饰)和鲁索(罗伊·施奈德 Roy Scheider 饰)还在酒吧中与当地贩毒分子交锋,浑然不知阿兰正在计划将一笔3200万美元的海洛因走私入美国。然而没过多久,在一次跟踪行动中,道尔和鲁索很快发现了可疑人物与贩毒网之间的关系,一场与贩毒团伙斗智斗勇的险恶持久战就此拉开。道尔和鲁索这对互相看不顺眼的搭档,究竟能想出多少计谋,躲过多少暗箭,最后又能否一举破获这起来自法国的大规模贩毒案呢?  本片根据罗宾·摩尔(Robin Moore)的真人真事作品改编,并获得第44届奥斯卡金像奖最佳电影、最佳导演、最佳男主角、最佳改编剧本、最佳剪辑奖。

 长篇影评

 1 ) 音轨+笔记:无情节创作

影片时长104分钟,跟情节有关的镜头时长仅有10分钟左右。

《法国贩毒网》中最为经典的追逐段落一共7分10秒,162个镜头。起初导演与制片人在向外界介绍他们的影片时,主要谈及的也是这一段戏。

导演William Friedkin与摄影师Owen Roizman均是纪录片出身,该片制片人同时也是动作影片《Bullitt》的制片。制片人在和导演讨论追逐戏时,首先讨论的便是如何超过《Bullitt》中同样精彩的追车戏。制作组并没有讨论故事,而是考虑如何追的更为漂亮。即运动,而非故事。

二人共记走访纽约55条街区来选景,最终选了三条街区作为拍摄地点。在导演与特技人的交通控制下,演员自己驾驶,用70-90的速度开过26条街道,共撞坏了3辆车,追逐戏拍摄周期为五周。

车内的机位:2个,一个在副驾驶的位置,一个 在驾驶员后方拍过肩镜头。

车身机位:2个,一个在引擎盖上对准驾驶人(车窗上不断闪烁的光斑,也让观众感觉到汽车的高速疾驰)。一个在汽车前的保险杠上,低角度的广角拍摄(一种令观众亲自参与到追逐当中的主观视点),这是在电影史上第一次出现的手法。

保险杠机位
引擎机位

剪辑1(节奏加快,行动更迭):一个人物的出场,往往便随着观众最先期望看到人脸,但人脸却被漂浮不定的东西(例如红旗、汽车)不断遮挡,所制造出的镜内剪辑效果,即一个完整的镜头被无数次切割。

境内遮挡切割

剪辑2: 三次撞车的镜头组接中,我们可以看到车停了,而车内人物的动作尚未停止,反而更为剧烈。

剪辑3:警察徒步追击毒贩的猫鼠游戏。人物的向左向右交替移动,人物与其他运动物体的反向运动。

焦虑感:前景摆放的电话听筒与纵向缓慢走来的警察。

在电影里,最重要的是image(即视听形象,包括视觉和听觉两个部分),结构可以相对松散。

 2 ) 关于本片的蓝光版本

老电影的胶片转数字一直是影迷的热点话题。在很少有人看过胶片首映的情况下,数字发行版的亮度、对比度、调色甚至画幅,都可能成为影迷间的重大争议(比如部分影迷认为,黑泽明的乱只有CC的DVD版调色最为还原)。哪怕是导演亲自监制的数字发行版,也不一定能服众,毕竟几十年过去了,导演自己的审美口味也可能一变再变。本片的蓝光发行版就是这样一个典型代表。

我第一次看的时候,随手下了一个知名压制组的重编码版本。噪点很大,对比度偏高,人物肤色呈现一种非自然的粉白。不过这种类蜡笔画的色调也算十几年前常见的调色风格了。然而看到酒吧一段时,这里的噪点和颜色失真已经影响到了画面信息。

于是我暂停,去搜搜有没有别的蓝光版本,不意外的发现本片在第一版蓝光(2009年)后,又发行过一次所谓的Remastered版本(2012年),两版间隔不到五年。同时我也搜到了一篇详细分析了两版蓝光的碟评,大概明白发生了什么。

碟评地址://www.highdefdigest.com/blog/french-connection-bluray-controversy/

先来看一下对比图,从上到下分别是2001年发行的DVD版,第一版蓝光和第二版蓝光

DVD版

第一版蓝光

第二版蓝光

可以看到,DVD版调色是90年代家庭影院常见的柔光高亮度调色,画面柔和,暗部细节清晰,整体往自然色调靠拢。第一版蓝光则是明显风格化的粉蓝调色。第二版蓝光修正了过大的偏色,但保留了强烈的暗部阴影,更像伦勃朗式打光。

第一版蓝光由威廉·弗莱德金亲自监制。虽然在后来的采访中,弗莱德金宣称他制作的数字母版非常完美,是发行公司生产拷贝时搞砸了画面。但按照第一版蓝光花絮中的说法,这确实是导演刻意为之的调色风格。他用数码技术剥去了整部电影的色彩,留下黑白图像,然后将颜色层过饱和,散焦,并重新融合回黑白图层顶部。 弗里德金认为原始扫描中的颜色过于生动,无法达到他想要的粗犷基调,几乎让这部电影看起来像20世纪50年代的音乐剧。他说他更喜欢处理过的版本,因为更“微妙” 。不过他也没想到随后生产拷贝时增强了对比度,导致暗部细节一塌糊涂。

第一版蓝光发布后立马遭到了大量非议,包括本片摄影师欧文·罗兹曼,这导致了一段时间的口水战,直到导演和摄影一起制作了第二版蓝光。这个版本完全没有了粉蓝调色,保留了更多的暗部细节,似乎更类似胶片的原始色彩,是一次非常保守的修复尝试。但这个版本也存在胶片转数字的常见问题——过饱和。

在影片上映已经过去五十年的今天,已经很难确定哪种风格更符合当年的创作意图了。而导演对通用版本的二次修改,数字修复版的修改幅度等问题,随着越来越多的老电影重获新生,也越来越多地被争论。

 3 ) 法国贩毒网 英文故事简介

In December 1970 in Marseilles, France, a plainclothes policeman is observing former longshoreman turned entrepreneur Alain Charnier (Fernando Rey) chatting with some unsavory types. Charnier is being tailed by the undercover cop because he is a kingpin in smuggling heroin overseas - a fact that costs the cop his life when he later returns home and is shot in the face by Pierre Nicoli (Marcel Bozzuffi), Charnier's henchman.

Meanwhile, in Brooklyn, NY, a corner Santa is chatting with some children outside a seedy bar while a hotdog vendor completes a transaction. The Santa is Detective Jimmy "Popeye" Doyle (Gene Hackman) and the vendor is his partner, Detective Salvatore Russo (Roy Scheider), whom Doyle nicknames "Cloudy." The two narcotics cops are staking out the bar in hope of finding a pusher named Willie (Alan Weeks). When Popeye sees Willie in the bar passing some drugs to a companion, he starts singing to the children, his signal to Cloudy. Cloudy enters the bar and grabs Willie's buddy. Willie sees the commotion and suddenly flees outside, with Popeye and Cloudy in hot pursuit. They corner him in an alley and Willie slashes Cloudy's arm with a hidden knife and runs. The cops chase him on foot to a deserted lot where he trips and falls and is beaten by both cops before Russo implores Doyle to stop. Once the two cops calm down they confusingly interrogate Willie, trying to get information on his drug connection.

In France, Charnier finishes a day overseeing dock work and drives home to his seaside villa and his young trophy wife (Ann Rebbot), who obviously has expensive tastes. The two exchange gifts for their upcoming trip to the US. Charnier later meets his gunman Nicoli at a rendezvous point for an acquaintance of Charnier, TV personality Henri Devereaux (Frédéric de Pasquale). Devereaux is traveling to the US to make a film and has decided to aid Charnier's smuggling effort because he needs money. Nicoli believes involving Devereaux is a mistake, but is reassured by Charnier.

In NYC, Popeye and Cloudy sign off for the night and Popeye takes his reluctant partner to a nightclub called The Chez. Popeye notices one table in particular, populated by known narcotics connections who are being entertained by a free-spending young man whom Popeye describes as a "greaser." Popeye smells a drug deal underway and persuades Cloudy to help him tail the greaser and his companion, a big-haired blonde. Throughout the night they tail the two, watching them drop off a suitcase in Little Italy and then switch cars early the next morning from an attractive coupe to a beat-up sedan. They then drive to a candy store/luncheonette, "Sal and Angie's", in a working-class area of Brooklyn. Peering inside as the couple prepares to open for the day, Popeye and Cloudy notice that the blonde is now a brunette, having worn a wig the night before.

Realizing they are on to something, the two cops stake out the candy store for a week using audio surveillance. Cloudy poses as a photographer to question Angie. Combing records they find that the greaser is Salvatore "Sal" Boca (Tony Lo Bianco) and his wife is Angie (Arlene Farber). The candy store's income could not explain Sal's free-spending ways. The posh coupe is owned by Angie while the beat-up sedan is owned by Sal's brother Lou (Benny Marino), a garbageman in training at a facility on Ward's Island in the East River. All three Bocas have criminal records. The candy store is regularly visited by unsavory types from New Jersey, and Sal makes numerous trips to an expensive condo in Manhattan at which lives lawyer Joel Weinstock (Harold Gary), a known drug financier who bankrolled a heroin shipment from Mexico.

Popeye and Cloudy raid a junk-house bar. One Afro-haired patron (Al Fann) talks back at Popeye and is hauled into a men's room to be beaten up - actually cover so Popeye can debrief his informant, who reveals that a big shipment is due within a few weeks that will satisfy everyone in the city. In order to make the ruse look convincing, Popeye punches his colleague in the jaw, a bit too enthusiastically.

Popeye's boss, Walt Simonson (Eddie Egan, the real-life inspiration for Popeye Doyle), is reluctant to let the two cops continue with their investigation of Boca, pointedly reminding Popeye of a previous case where his hunches backfired. But with Joel Weinstock, whom the police have long wanted to arrest, potentially involved, Simonson relents and goes to court for a wiretap on Boca's house and candy store. The federal Bureau of Narcotics and Dangerous Drugs (BNDD) now becomes involved and assigns Agents Bill Mulderig (Bill Hickman) and Bill Klein (Sonny Grosso, the real-life inspiration for Cloudy Russo), who've worked with Popeye before; Popeye and Mulderig are at constant loggerheads because Mulderig blames Popeye for the death of a policeman in a previous case and doesn't believe Popeye's hunches to begin with.

Charnier, Nicoli, and Devereaux arrive in NYC and Devereaux brings with him Charnier's Lincoln, signed for in Charnier's stead. They speak fair English, but nonetheless have an interpreter, La Valle (Andre Ernotte), with them. La Valle escorts Charnier to a police auction of impounded cars and identifies Lou Boca as the scrap metal buyer for Charnier's business (suggesting how the Bocas may have linked up with Charnier).

After several days of monitoring mundane conversations, the wiretap finally brings Popeye and Cloudy their first break - Charnier phones Sal to arrange a 12 o'clock meeting the next day. Popeye, Cloudy, and Mulderig tail Sal to midtown Manhattan, where they spot Sal meeting with Charnier and Nicoli. While Mulderig follows Sal, Popeye and Cloudy tail Charnier, dubbed "Frog One," and Nicoli as they walk through the city. The Frenchmen stop to eat at an expensive restaurant, which the cops observe while standing outside in freezing temperatures and eating bad pizza with worse coffee. Later, Popeye finds out that Frog One is staying at the Westbury Hotel, but Mulderig still doesn't believe Popeye is on to anything, leading to a brief argument.

At Joel Weinstock's condo, a young dope chemist (Pat McDermott) tests a sample of Charnier's heroin and it measures to 89% pure. There are sixty kilos due to arrive; when cut down into "dime bags" it will total out to $32 million with a half-million cash down payment. Weinstock, however, wants to wait before the switch is made, much to Sal's displeasure as Sal fears that Charnier will abort the deal if Weinstock drags it out too long.

The next day Popeye arrives at the Westbury just in time to see Charnier breeze right by the distracted Mulderig and Klein and walk into the city without a tail. Popeye tails Charnier himself, almost loses him at a flower shop, but then picks him up again at the Grand Central subway station. They play a cat-and-mouse game on the platform, but the wily Charnier manages to hop back on a train at the last moment and waves goodbye as the furious Popeye futilely runs after the train.

Charnier meets Sal in Washington DC - Sal followed there by Klein - where Charnier insists that the deal must be consummated by the end of the week, despite Sal's protests that his mob pals want to wait. On the flight back to New York, Charnier expresses his worries to Nicoli, who points out that Sal's concern about the police is warranted. The Frenchmen agree that Doyle is the main problem, and Nicoli volunteers to assassinate Doyle. Charnier reluctantly agrees, unaware that a fight has erupted between Popeye and Mulderig, and that Popeye has been taken off the case by a furious Simonson.

The dejected Popeye returns to his Brooklyn apartment building, where he is fired upon by Nicoli from the roof. Popeye manages to enter the building and pursues Nicoli to the roof, and then back down when he sees Nicoli fleeing. Nicoli runs to a nearby elevated train station and boards the train while Popeye screams for a uniformed transit policeman on board to stop him. As the train leaves the station, the transit policeman follows Nicoli as he moves forward through the train. Popeye commandeers a Pontiac Le Mans from a flabbergasted citizen. Nicoli kills the transit cop and seizes the motorman, forcing him to keep the train going through all the regular stops. Popeye furiously pursues in the car, barely escaping as other cars sideswipe him, and he nearly strikes a woman pushing her child in a baby carriage. Nicoli then kills the conductor who tries to intervene, and the crowd on the train flees while the terrified motorman collapses with a heart attack, locking the train on a collision course with a stopped train. The two trains crash and passengers, including Nicoli, are thrown about. Despite injuries and losing his gun, Nicoli slips out undetected - by everyone except Popeye. Nicoli starts down the stairs but is cornered by Popeye, and when he tries to flee he is shot dead.

Popeye and Cloudy, now back on the case, tail Sal as he takes the Lincoln from a parking garage to a side street. The police stake out the car all night; at 4:10 AM a gang of thieves tries to strip it, but they are arrested by a horde of policemen and the car is towed to a garage to be searched as evidence. The mechanic (Irving Abrahams), cannot find any narcotics in the car, but Popeye refuses to believe it. While Devereaux (who signed for the car) and La Valle argue with the garage desk sergeant, Cloudy notices a 120-pound discrepancy between the car's listed weight and actual weight. The mechanic reveals one area he didn't open up - the car's rocker panels underneath the doors. Popeye chews him out and then helps open up these panels, and the stash is found. The car is replaced (either repaired or the department acquires another, intact one), the stash replaced, and it is returned to Devereaux, while the police now wait for the dealers to make their final move.

Devereaux meets again with Charnier and is reluctant to do any more favors, until Charnier reveals that Devereaux is now an accomplice - to Devereaux's surprise and horror. Devereaux walks away, but Charnier takes the car himself and drives it to Ward's Island, where Lou Boca directs him to an abandoned factory building. There the heroin stash is revealed and tested positively. The stash is hidden inside the building and cash payment is hidden in the rocker panels of the junker car Lou Boca bought. With the deal completed, the Bocas briefly celebrate and Sal drives Charnier back to the city - and right into a police roadblock led by Popeye. Sal drives back to the factory with police in pursuit, and the mobsters hide inside the main building while Charnier hides in a secondary building. A gunfight ensues, in which Sal Boca is shot dead. Popeye hunts for Charnier inside the dilapidated warehouse. Cloudy joins him as Popeye appears to have cornered Charnier, but as the two cops approach the room Popeye sees someone from another door. He opens fire before Cloudy can corner the now-dead man - who turns out to be Agent Mulderig. Determined to get Frog One at any cost, and not caring that he just killed a Federal agent, Popeye strides through the warehouse, believing the Frenchman is still in hiding. After he rounds a corner a single gunshot is heard.

In an epilogue, it is revealed that Weinstock and the surviving Bocas either skated or received peripheral sentences while Henri Devereaux wound up in federal prison for four years; Charnier escaped and is believed to be living in France, and Doyle and Russo were suspended from narcotics duty.

 4 ) 《法国贩毒网》的幕后花絮

搬运自imdb的Trivia,选了其中一些有意思的。原文见:
http://www.imdb.com/title/tt0067116/trivia?ref_=tt_trv_trv

追车戏里边的撞车镜头其实是个意料之外的事故,因为真实所以没被删掉戏份。被撞的车主住那儿附近,被撞的时候准备去上班。制片人后来陪了他修车钱。
(躺枪啊!)

开头警察扮成圣诞老人抓毒贩的情节是警察原型的真实经历。因为毒贩经常能认出来便衣警察。有一年圣诞节缉毒警察(原型)想出来了这个办法,一唱铃儿响叮当(Jingle Bells)就表示毒贩出现,用这招几年抓了几十个。

Eddie Egan侦探在拍了这片儿之后准备从纽约警署退休然后去好莱坞工作。纽约警署挑了他工作上的一些小错儿,在他退休生效之前几个小时解雇了他,并取消了他的退休金。纽约警署的这个决定后来被上诉驳回。
(都够黑的)

追车戏并没有从市政府获得足够的许可,纽约警署的一些人帮助疏导交通,但主要的交通都是由助理导演和当天没在上班的警察负责疏导的,每个方向清理了大约五个路口。他们获得的权限只是在追车戏的时候控制红绿灯。在许多场景里他们不小心开进没来得及疏导交通的地方,许多差点儿撞上的戏都是真的(不过差点撞上推儿童车的那个戏是提前排练好的)。拍追车戏的时候车上装了个一直闪的警灯,保险杠上装了个摄像机。导演开了一部分车,巨危险的部分由特技演员来开,导演坐在后边拍。导演亲自拍的原因是因为另一个摄像结婚有孩子了,但导演都没有。
(单身狗的悲哀)

根据导演在DVD版里的评论,临近片尾测海洛因纯度的那场戏里海洛因是真的,没用面粉淀粉之类的糊弄事儿。

戏里能看见当时正在建的世贸中心双子塔。

Fernando Rey(戏里的法国老头 幕后老大)其实选错人了。导演本来想用在《白日美人》里他看到的的一个演员,选角的人以为是Fernando Rey。等到了机场接人的时候导演发现不对劲儿,而且这人不会说法语(本来想用的演员是Francisco Rabal)。不过后来导演表示不要在意这些细节,因为本来他想用的那个人既没有档期也不会说英语。
(说实话这俩人我都不太记得在Belle de Jour里见过)

为了节约预算,导演经常让摄像坐在轮椅上拍,这样可以省得用摄像轨道了。在男主跑进地铁车厢的镜头可以发现这一点,因为开始还很稳,然后摄像站起来跟着男主跑的时候开始巨晃。
(后边还有一条,因为预算很低,这片儿压根就没用也没建摄影棚。我只能表示真是。。。够真实的。。。)

地铁列车员没用演员,因为演员那天没来。地铁司机也没用演员,因为地铁公司不想让演员真去开地铁。

一些演员后来表示他们拍戏的时候基本都忽略写好的台词,以及警察教他们的黑话。搞笑的是这片儿最后拿了奥斯卡最佳改编剧本。
(不过我觉得可以理解,又没有要求演员不能即兴改编剧本。。。)

本来那俩警察主人公原型之外还有第三个主人公原型,因为未知原因他不想出现在书或者电影里。

Grand Central地铁站男主跟“法国”老头来来回回上下车捉迷藏那场戏花了两天才拍完(而且也没获得拍摄许可)。此外开始捉迷藏到捉完迷藏前后车号都不一样。
(纽约地铁车上有还挺醒目的编号,这么耽误交通也不怕被打)

导演在DVD版的评论里表示有很多警察反对男主在追罪犯的时候从背后开枪打死他的情节,但男主的原型表示同意。后来这场戏在试映的时候还获得掌声好评。有些海报用了这一幕。
(正好就是豆瓣现在的海报,如果换海报了在海报相册里也能看到,就是一个人跪在台阶上中枪了的场景。shoot in the back是一个很不爷们儿的行为)

 5 ) 剧透慎入

一开始十几分钟没有进入状态,也没搞清楚谁是好人谁是坏人。从看懂的地方开始说起,勉强算是单线叙事吧!
警察道义尔和队友在酒吧里发现一名嫌疑犯,追踪发现他和法国贩毒大佬(阿兰)有关。从线人口中得知最近将有大量毒品入美,警察开始跟踪调查阿兰一伙儿。
道义尔的跟踪让阿兰很烦,派狙击手除掉道义尔,但被道义尔枪杀掉。随后,道义尔跟踪发现一辆嫌疑车辆,一番搜索后找到了毒品。
警察布局抓获了交易的毒贩双方,但阿兰逃窜,买毒方大佬无罪,道义尔在逮捕过程中误杀了一名警察……对于这么真实的结局很是无奈。
个人认为最好看的是道义尔开车追捕狙击手那段,镜头视角是汽车,把道义尔急迫、慌张、愤怒、恐慌等等情绪表达得淋漓尽致,超级棒!

 6 ) 《法国贩毒网》:好莱坞犯罪类型片的新风

从上世纪二三十年代诞生之后,犯罪片始终是最能使肾上腺素飙升的类型片之一。无论是哪个类型分支——黑帮片或者侦探片——都有令人热血沸腾的元素:枪战、追逐等动作场面,以及焦虑、悬念等情绪刺激。在犯罪片的历史长河中,1971年的《法国贩毒网》无疑是一部具有里程碑意义的经典影片。

我所指的「里程碑意义」并不仅仅是因为此片囊括了第44届奥斯卡的五项大奖,抑或「第一部赢得奥斯卡最佳影片奖的R级片」、「第一部出现世贸中心的影片」等琐碎纪录,而是它在很多方面为犯罪(侦探)类型片拓宽了思路、开辟的视野。

众所周知,自《罗马,不设防的城市》以降,意大利新现实主义电影迅速风靡,并对战后电影产生了深远的影响。五、六十年代这股风潮也刮到了大西洋彼岸,时值美国政治、社会、经济的动荡时期,传统好莱坞电影赖以依存的思想文化基础亦随之崩塌。于是,受新现实主义运动的影响,好莱坞的电影也有了全方位的改变。其中,最明显的一点便是从主题到镜头语言的写实化。

以《法国贩毒网》为例,便鲜明地体现了这种写实风格。影片根据纪实小说改编,本身就具有了一定的写实性,而缉毒的主题也切中了当时美国毒品问题泛滥的现实。在拍摄过程中,导演威廉·弗莱德金不但请来了真实案件中的当事警察莅临指导,甚至连许多演员也由警察客串,力图尽可能还原出事件的真实细节。

更重要的,也是最关键的则是导演对于镜头语言的运用。新现实主义运动相当有名的一句话就是「把摄像机扛到街上去」,鼓励导演们走上街头,去捕捉生活中虽不完美却贵在真实的声效与画面。在《法国贩毒网》中,导演运用了快速变焦、大幅度摇移、跟拍等纪录片的拍摄方式,并且几乎不使用配乐,代之以噪杂自然的真实音效,给人一种十分逼真的临场感。

然而,与大多数意大利新现实主义电影不同的是,《法国贩毒网》在树立写实主义犯罪片新风的同时,也兼顾了一定的娱乐性和可看性,体现出好莱坞影片的特质。文首提及的「追逐」正是导演着墨最多的所在。在本片中,「追逐」的部分占到了四分之三以上,既有斗智斗勇的跟踪与反跟踪,也有紧张刺激的汽车追列车,且都是能够载入教科书的经典桥段。

对于前者,导演反复利用景别的切换来达到表现正反派形势的目的,时而势均力敌,时而某方占优,同时人物站位的设计也颇有讲究,既反映了局势也衬托出心理。跟踪戏的高潮出现在地铁站,毒贩夏尼耶凭借车门开闭的时间差与警察多伊尔进行周旋角力,最终狡猾的夏尼耶先拔头筹。

对于后者,镜头语言不再那么深具含义,导演运用朴素的主视镜头和快速的剪辑将追车戏表现得真实自然又冲击力十足。要知道这一幕是在未得到相关部门批准的即时路况下拍摄的,特技演员驾驶的汽车犹如脱缰野马般一路狂奔,撞车事件频发,令人屏息。并且最后以多伊尔击毙毒贩告终,一气呵成,十分过瘾。这一经典桥段对日后许多犯罪片都有所启发,甚至连诺兰在《蝙蝠侠:侠影之谜》中也进行了充分借鉴。

此外,《法国贩毒网》还塑造了「多伊尔」这个经典的警察形象。带点鲁莽粗野、喜欢以暴制暴,却有着类似斗犬的执着和狠劲,这种一反常态的混不吝角色反而受到了欢迎。值得一提的是,在同时代的《肮脏的哈里》系列中,克林特·伊斯特伍德饰演的哈里也是这么个劣迹斑斑的辣手警探。这些电影一改往日犯罪片中警察们一贯的高大正义,用更真实、更人性化的一面引领了「新警察电影」时代。

不过白璧微瑕,影片结尾的处理似有待商榷。导演用一声枪响结束了整部电影,这样的留白原本不错,然而由纪实文学改编而来的缘故又不得不用文字对人物结局作出补充交代,这样一来留白顿显蛇足,令一部完美的电影略含残念。以这样的方式收尾,恐怕绝非导演的本意吧。

 7 ) 真实地警匪片

法国贩毒网 The French Connection (1971)—第44届奥斯卡最佳电影

       影片讲述警察与毒贩之间的故事,涵盖了警匪片中的多种元素:枪支、汽车、毒品。电影采用纪录片式的摄影,极具真实感,是实战型警匪片的鼻祖。影片中的警探也不是完美的英雄形象,而是勇敢无畏、聪明机警却又冲动暴躁、风流成性的一个普通人。所以人物显得非常有立体感,增加了影片的真实效果。
       对影片有几点困惑:首先,吉米在酒吧对意大利人莫名其妙产生怀疑,没有特别的根据,然后就凭自己的直觉追查下去,逻辑是不是欠妥当?其次,吉米经过漫长的追车后,逮到杀手,本以为会活捉,却一枪打死了,这是不是有点太情绪化?最后,吉米在楼房中搜捕罪犯时,开枪误伤了队友,让人觉得人物实在有点太过于冲动真实。结局也并非现在很多警匪片中的正义战胜邪恶,而是毒贩逍遥法外,警探被离职调查。电影不能说很出色,只是具有借鉴意义。

 短评

三半,五十年前的电影,同期港片可是《新独臂刀》和《唐山大兄》,有着一样的大变焦镜头和情绪化音效,感觉比第二年的《教父》要更老派。是当代警察片鼻祖么,很多常见桥段:搜查假意殴打线人,征用市民车辆。是个纯粹的硬汉片儿,大力水手直接不花俏,没有烧脑不带私货。跟踪的几场戏非常《跟踪》,一对一比团队作战让人更为警探捏一把汗。诡异的是对比车辆重量最后找到毒品这个情节我看过。追车一段摄影机低角度就好像把观众挂在保险杠上,穿梭颠簸很刺激。我爱motown夜总会,快乐又blingbling

3分钟前
  • 山下猫
  • 还行

据传说,这是一部具有大量教科书式镜头语言的电影:追逐、跟踪、飙车、暴敛和沉静的警察搭档,反映时代背景的事件。这一切听起来都很美,可惜我在我的年代看到了更加精良、更加悬念迭出的创作,所以,对不起了。

7分钟前
  • 没落的小资产者
  • 还行

我可以看上一遍又一遍又一遍又一遍。Cloudy一大早去Popeye家里给他当保姆呵呵呵当年还是可以表现不腐但非常和谐的金发黑发拍档的。大量街头偷拍,剧中流氓混混群众演员全是警察演的,哈克曼角色的原型演他剧中上司,另一本尊演去华盛顿的探员

10分钟前
  • paradiso
  • 力荐

这片子不简单...要重看...

13分钟前
  • 大宸
  • 推荐

4.5 藍光版看得賊爽。街頭攝影太舒暢!紐約被拍的髒亂差但栩栩如生,手持鏡頭帶入感靈靈的。音樂其實特別擾亂心緒,但完美契合混戰追蹤。飛車地鐵追逐和一開始幾場跟蹤戲都拍得巨好,風格凌厲啊

16分钟前
  • 大佑
  • 推荐

当年的奥斯卡最佳影片,现在看来貌似没有什么特别之处,但这放在那个时代中,是有着其自身价值的。片子拍摄的很多场景设计都成为了经典,影响着后面电影的拍摄,比如警匪斗智、飙车追逐等,当然根据真人真事改编也是魅力所在,电影在毒品泛滥问题棘手的特殊时代出现,能得奖确实有着与纯艺术无关的成分

19分钟前
  • 润物
  • 还行

美国电影自20年代默片喜剧以来便形成起了一种以城市空间为运动载体,并着力呈现城市风貌与现代化设施景观特性的影像传统。在《法国毒贩网》中,此种运动感、速度性与城市景观的描摹进一步得到深化,摄影机随火车与汽车等交通工具本然地进行运动,在疾速游梭中勾连出城市空间的开放特性,而警探与逃犯的奔跑则迸发出一种亢奋而强烈的速度官能与具身化体感。正如鲍德里亚所说,速度已成为美国中产阶级的生活方式与核心表征。换而言之,在资本主义建制的渗透下,空间性、动作性、速度性已成为美国主流电影的基本特征。

22分钟前
  • 世界的焚像.
  • 推荐

抛开教科书的地位不说,单就观赏性来看仍然是非常精彩好看的缉毒警匪片。好喜欢吉恩·哈克曼演的男主角,一股摧枯拉朽一路焚烧的偏执劲,最后看不见的那一枪就像狠狠一拳打在棉花上的无力感。

27分钟前
  • 陀螺凡达可
  • 力荐

时代是残酷的,看惯当下的动作片再回头看这些个老电影,简直是折磨。

30分钟前
  • 读书的屠狗辈
  • 还行

7.8,其实这就是一个典型的类型片,人物刻画还算丰满,纪录片式的拍摄手法在当时也算新颖,于是成为了类型片的教科书

32分钟前
  • 皮陀
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《法国贩毒网》改编自罗宾·摩尔于1969年出版的纪实小说《The French Connection》。除了两位主人公外,该片中的很多虚构人物都对应着真实人物,如贩毒组织头目夏尔涅的角色原型就是后来在巴黎被捕的毒枭吉恩·杰汉、法国电视明星德布罗的角色原型就是曾在美国服刑4年的法国电视演员雅克·安琪文。

33分钟前
  • Panda的影音
  • 还行

直接而粗糙 同意大家所说的 精华全在那几段追逐戏上 然而相近的桥段在日后的致敬作中看过无数次啦 看到始作俑者一点都没激动起来 这种感觉像看“奥德赛阶梯”?

35分钟前
  • 周鱼
  • 还行

除了最后枪杀同事和开放的结尾,想不通为什么这片子会在奥斯卡击败发条橙,乏味之极

39分钟前
  • 比尔哈利根
  • 还行

罪犯和警察,或说作为男人,生命中只有事业与偶尔的女人。牛逼到不行的剪辑,特别是飞车追轻轨那场,超高速拼贴有没有。还有耸动到一度让我以为是恐怖片的配乐,一个简单的查案顿时非常惊悚。还好有时不时出现的CP卖腐,耐看程度想起恐怖笼罩巴黎。最后一次追凶很像法国或英国黑色电影。

43分钟前
  • Superhat
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威廉·弗雷德金代表作,击败[发条橙]拿下奥斯卡最佳影片、导演等多项大奖。1.运镜与调度教科书,后世警匪片范本。2.主要使用手持摄影,部分镜头由摄影师坐在轮椅上完成,均为实景拍摄,大量跟拍与快速变焦推拉镜头,真实感、临场感极强。3.多人交替跟踪戏非常给力(双方你知我知的角力,对橱窗、死角与人流的利用),而那场王牌对王牌的跟踪与(利用地铁开关车门时间差的)反跟踪更是精妙的设计。4.汽车追列车的段落运用交叉剪辑及追车主观镜头,且不少危险撞车均为未加人工编排的偶然实拍记录,张力太足了。5.楼梯下背后开枪的场景已成经典,而拆车寻毒场景也拍得让人急切不已。6.吉恩·哈克曼演绎的粗蛮执拗、以暴制暴的辣手警探也影响了无数犯罪片。7.纽约街景拍得十分迷人,最后那那座阴暗、漏水的废弃大楼也超有感。8.猝然枪声的收尾。(9.0/10)

47分钟前
  • 冰红深蓝
  • 力荐

【B+】那段汽车追火车的动作戏看得我瞠目结舌,震惊于创意和执行,这是1971年啊,居然拍出了当今科幻大片的范儿。

51分钟前
  • 掉线
  • 推荐

纪实风。跟踪,追捕,守株待兔。放长线钓大鱼只是一厢情愿的努力和固执,终究道高一尺魔高一丈,片尾音乐也是此意,黑暗势力难以铲除,如鬼魅般存在。多推拉摇移镜头,介绍人物位置关系及强调作用。摄影机前置拍摄和手持摄影,临场感强,如汽车与地铁中的追逐。道尔更立体,执着、干劲十足,还好色。

56分钟前
  • 居无间
  • 推荐

2015经典重看之一。威廉·弗莱德金不是电影大师,但他是一个驾驭能力非常不错的导演,能够因类型而自我调整,《法国贩毒网》这样的写实警匪片,他能够拍出硬朗的风格,《驱魔人》那样的恐怖片,他也能够拍出诡异恐怖的氛围。

1小时前
  • Clyde
  • 推荐

本片被黑泽明列入自选百大,“我记得它算是追车电影的先驱,车与车都以断脖速度相互追逐,动作桥段令人惊叹!当时许多美国电影都带精彩追车戏,它们强在细节刻画:怎样开车门,进入,驾离停车场,之类。我总说,如果砍掉这些追车戏,影片将只剩三分之二。”…而导演弗莱德金自己解释说,由于几年前彼得叶茨的《警网铁金刚》的双人追车太有名,他不想拾人牙慧,绞尽脑汁变换花样,将汽车追汽车变成汽车追火车。……个人偏爱剧中的黑色元素:法国老头,绅士优雅行事稳健家庭和睦坐享美食,但他是个毒贩;美国壮汉,火爆脾气不择手段未婚乱性站啃汉堡,但他是个警察!据说这种荣坏贬正的颠覆式拍法让哈克曼与弗莱德金产生了分歧。他希望塑造的那种偏正面的警察形象出现在换由弗兰克海默指导的续集。弱化了黑暗面,凸显了意志力,一定要惩恶扬善终极了断。

1小时前
  • 赱馬觀♣
  • 推荐

作为一部比教父还早一年的警匪片,能达到这个高度确实惊人,所有景都是实景,手提式伪纪录片式的拍摄,低落的结局,大量的追逐和动作戏,快速流畅的剪辑,这在当时那个时代简直无法想象。哈克曼的演技也为大家留下了深刻的印象,这种一个火爆一个内敛的警察组合让我想到了后来的很多电影,比如七宗罪。

1小时前
  • 推荐

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