The French Connection (1971) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A pair of NYC cops in the Narcotics Bureau stumble onto a drug smuggling job with a French connection. Director: Ernest Tidyman (screenplay), Robin Moore (based on the book by) Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 34 titles created 30 Aug 2011 a list of 46 titles created 02 Dec 2011 a list of 49 titles created 02 Jul 2013 a list of 25 titles created 30 Nov 2014 a list of 32 titles created 26 Sep 2015 Title: The French Connection (1971) 7.8/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 5 Oscars.

Another 17 wins & 10 nominations. See more awards » Videos "Popeye" Doyle travels to Marseille to find Alain Charnier, the drug smuggler who eluded him in New York. Director: John Frankenheimer A naive hustler travels from Texas to New York to seek personal fortune but, in the process, finds himself a new friend. Director: John Schlesinger A paranoid, secretive surveillance expert has a crisis of conscience when he suspects that a couple he is spying on will be murdered. Director: Francis Ford Coppola The World War II phase of the career of the controversial American general, George S. Patton . Director: Franklin J. Schaffner An African American police detective is asked to investigate a murder in a racially hostile southern town. Director: Norman Jewison Bonnie Parker, a bored waitress falls in love with an ex-con named Clyde Barrow and together they start a violent crime spree through the country, robbing cars and banks. Director: Arthur Penn Ted Kramer's wife leaves her husband, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.

Director: Robert Benton A graduate history student is unwittingly caught in the middle of an international conspiracy involving stolen diamonds, an exiled Nazi war criminal, and a rogue government agent. Director: John Schlesinger Two British track athletes, one a determined Jew and the other a devout Christian, compete in the 1924 Olympics. Director: Hugh Hudson The story of the final Emperor of China. Director: Bernardo Bertolucci The true story about an honest New York cop who blew the whistle on rampant corruption in the force only to have his comrades turn against him. Director: Sidney Lumet "The Washington Post" reporters Bob Woodward and Carl Bernstein uncover the details of the Watergate scandal that leads to President Richard Nixon 's resignation. Director: Alan J. Pakula Edit Storyline William Friedkin's gritty police drama portrays two tough New York City cops trying to intercept a huge heroin shipment coming from France. An interesting contrast is established between 'Popeye' Doyle, a short-tempered alcoholic bigot who is nevertheless a hard-working and dedicated police officer, and his nemesis Alain Charnier, a suave and urbane gentleman who is nevertheless a criminal and one of the largest drug suppliers of pure heroin to North America.

During the surveillance and eventual bust, Friedkin provides one of the most gripping and memorable car chase sequences ever filmed. Written by Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu> A $32,000,000 chase turns into the American thriller of the year! See more » Genres: 9 October 1971 (USA) See more » Also Known As: Mono (Westrex Recording System)| 4-Track Stereo (Westrex Recording System) Color: Did You Know? Trivia All of the extras used in the first bar scene were real-life police officers. See more » Goofs When Popeye Doyle creeps alongside the building below the sniper his gun can be seen jumping hands between shots. See more » Quotes See more » Crazy Credits The 20th-Century Fox logo fades in black and white, dissolves to color, then seamlessly widens from the old square aspect ratio to modern standard film ratio.

See more » Connections Version of N.Y.-70 (2005) See more » Soundtracks (United Kingdom) – See all my reviews Following a mix of hunches and leads, two tough NYPD narcotic cops set up surveillance on a candy store in the belief that the owners of the store are somehow involved in drug dealing on the side. Putting the squeeze on the store leads them to a couple of new people, specifically a smooth French criminal called Alain Charnier who is trying to orchestrate a massive drug sale in New York. The pressure looks like bringing success to Detectives Doyle and Russo, but Charnier's organisation has tight time targets and decides to take action to remove the heat from the job. Sometimes with "classic" films it is easy to get sucked into the hype and reputation and just love it before you have even seen it; for that reason, although I have seen it several times, I decided to give it a fresh viewing before I dared try to write my thoughts on it  it finished ten minutes ago, so my memory is still fresh.

Although I feel that it has remained well known thanks to "that" car chase, I think that recalling only that scene is to do a disservice to a film that is an enjoyable thriller in a tough, typically 1970's mould. The plot sees a minor hunch turn into a bigger police job and it would be easy to pick holes in some of the logic within it, it still grips and provides a nicely gritty cop thriller. It isn't as clever or as original as those coming to it on the back of its reputation might expect it to be, as it does pretty much what the rest of the genre does. Now I'll be fair and acknowledge that I don't know whether this film was the first to create this type of film or if it was just part of the development of them, but certainly watching it now it does blend in with others in the same genre. The direction makes it better than the material as Friedkin injects real tension and grit into the story keeping it exciting while also being rather sombre and low-key. The acting also makes it and, rightly, Hackman carries much of the film with a great performance as Doyle.

Grizzled, bigoted and apparently heartless, it is interesting to contrast his character with Rey's Charnier, who is much cooler and effective. Scheider is, as always, reliable in support and he gives a good performance throughout while the rest of the cast play their roles well enough. There is no doubt though, that Hackman is the heart of the film and his performance reflects this and makes the audience emotionally involved with his story from the very start. Overall this is a great 1970's cop thriller with all that comes with that genre. It is enjoyably gritty and fast paced with "heroes" of questionable morality and smooth criminals. People will always hark on about that car chase and, yes, it is good, but there is more to this film and it stands out as one of the best of the genre. 26 of 38 people found this review helpful. Was this review helpful to you? Yes Popeye Doyle (Gene Hackman) in The French Connection Character Analysis The Policeman on the Silver Screen Think about cops in movies, and who comes up? If you're into musicals, maybe West Side Story's all-but-powerless Officer Krupke .

Maybe you're more a slapstick Paul Blart: Mall Cop type. Or perhaps it's the knightly Bruce Willis in the classic action flick Die Hard who comes to mind. No matter what boy-in-blue you thought of, though, you might notice that a perfect cop isn't a very popular choice for a movie character. Why's that? Well, a perfect cop, or a perfect teacher, or a perfect housewife… or a perfect anything isn't very interesting to watch. We kind of hate characters that are flawless and pore-less, sweetness and light. But never fear: Jimmy "Popeye" Doyle is flaw-rich, and can be a pretty riveting watch. Though the original tagline called Popeye is "bad news, but a good cop," we're not sure that exactly covers the full breadth and depth of this crazy-classic antihero . Now that the tagline mentions it, we're not even sure he was a very good cop. Or, maybe it depends what your standards are? Witness Popeye roughing up civilians, making himself conspicuous ordering a grape soda while on Charnier's tail, or letting some hot chick use his Department-issued handcuffs for bedroom games. Is that good cop behavior?

Oh yeah: and let's not forget the endless spewing of racial slurs: POPEYE: You dumb Guinea. Never trust a nigger. CLOUDY: He coulda been white. POPEYE: Never trust anybody. Seriously, someone needs to enroll this guy in sensitivity training… or at least how-not-to-be-a-raging-racist-dirtbag training. When the Ends Justify the Means (and When They Don't) The movie isn't shy about letting us know that Popeye's made mistakes before. Both Federal Agent Mulderig and Captain Simonson mention a previous case, where Popeye got another cop killed: MULDERIG: His brilliant hunches cost the life of a good cop. We don't know how, or what exactly the circumstances were… but we do know that for Popeye, the ends justify the means. The movie also points to those means paying off. "Your scrapbook's a mess, just like everything else in your life," Cloudy clucks, going through his notebook of newspaper cuttings that we imagine showcase past professional successes. That's the thing: most of the time, Popeye's hunches are good.

If he didn't have this rep in the force, and if he wasn't known for his blind doggedness and nose for crime, then Simonson wouldn't support him or get him warrants to keep working the case. Without Popeye's track record as a "good cop" within the context of the movie, there wouldn't be any plot at all. Believing Your Own Hype In large part, this whole movie is powered by Popeye's rep for being a cop who gets stuff done… and by his almost psychic ability to tell when something fishy's going on. For example, remember when he just decided that the Lincoln Devereaux brought over from France was suspect? Yeah. He doesn't mince words: POPEYE: That car's dirty, Cloudy. We're going to sit here all night if we have to. Yup; that's it. A hunch. And he was so sure he was right, they spent all night just sitting there… and eventually found half-a-million dollars in heroin. Sure, why not? Big Head; Big Porkpie Hat And Popeye isn't just good with his weirdo hunches. He knows he's good with his weirdo psychic hunches.

It's part of his whole thing. It's not so much that he's sexy and he knows it; it's more that he's a grizzled, violent, megalomaniacal cop… and he knows it. Basically he buys into the hype surrounding his prowess. He buys into his own image. And his confidence—and his desire to keep his rep—works as a plot motivator. After all, you don't get into a car chase with a subway car unless you have something to prove. What does Popeye have to prove? Well, that he's still Popeye. It's no accident that pop culture has given us only two antiheros that like to rock a porkpie hat. We have The French Connection's Popeye Doyle, and we have Breaking Bad's Heisenberg . Both are bad to the bone. Both of them are riveting. And, most importantly, both of them know that they're living legends. But unlike the chicken and the egg, we know who came first: Popeye Doyle.

Mild-mannered Walter White wanted the perfect accessory to transform himself into a force to be reckoned with, and so he borrowed from a character who is synonymous with "a force to be reckoned with:" Popeye Doyle. Anti-hero, Anti-climax So what makes Popeye the antihero to end all antiheroes? Well that moment takes place at the end, as he stands beside Cloudy in an abandoned building on Ward's Island, Mulderig shot dead by Popeye's gun. Cloudy, with his soulful brown eyes, looks on in horror. "You shot Mulderig!" he tells his partner. But Popeye might as well be a wild predator with a rumbling stomach. He doesn't respond, saying only: "The sumabitch is here, I saw him!" A lot has been made of likability and being able to identify with characters in movies and books. So what do we do with a character who doesn't seem to care if anyone likes him, or even gets in the way of his bullets? Well, if we're Walter White, we borrow his style.

Gene Hackman: 5 Quotes About Iconic Role as Popeye Doyle A A “The French Connection” (1971) is considered to be the film that gave Gene Hackman his rise to stardom. Hackman, who played tough New York cop Jimmy "Popeye" Doyle, earned an Academy Award for Best Actor for his performance. Hackman's character, Popeye Doyle, was based on real-life New York City narcotics officer Eddie Egan. The film was such a hit that Hackman reprised the role in 1975 for the sequel, "The French Connection II." Hackman received Best Actor nominations from the Golden Globes and British Academy of Film and Television Arts for the encore performance. Vote Now: Who Is Your Favorite Actor of All Time? Here are five quotes about Gene Hackman’s iconic role, Popeye Doyle: 1. “Popeye Doyle, the New York narc created by Gene Hackman in ‘The French Connection,’ was the most compelling of characters, a man driven by violent hungers that had little to do with his job as a cop. He needed the violence, maybe, to survive the toughest beat in town.

He had such presence, such a capacity to explode, that when he ran a bust on a bar, the patrons — pretty tough themselves — were actually intimidated. Popeye was something unique among film characters, and Hackman deserved the Oscar he won for the performance.” – Roger Ebert , Chicago Sun-Times 2. “The Hackman characterization, one of the most successful in his career, and the only one that is allowed to emerge in much detail, virtually defines the attitude of ‘The French Connection.’ Hard-nosed, pork-pie-hatted, vulgar, a tough cop in the latest measure of a fine tradition, he exists neither to rise nor to fall, to excite neither pity nor terror— but to function. To function in New York City is its own heroism, and the film recognizes that, but it is not the heroism of conventional gesture, and so even the most conventional excitements of ‘The French Connection’ carry with them a built-in air of fatigue.” – Roger Greenspun , The New York Times 3.

“Hackman is a prince of Fun City, crowned with an absurd porkpie hat and inhabiting his part so totally, it's amazing that Jackie Gleason and Jimmy Breslin were among the half-dozen personalities first considered for the role. Being a cop is Popeye's vocation; he establishes his street cred early on by single-handedly browbeating and brazenly N-wording the soul-brother patrons of a Bed-Stuy bar. These post-Great Society policemen have to go it alone, collaring perps by any means necessary.” – J. Hoberman , The Village Voice 4. “Then (agent) Sue Mengers, who represented Gene Hackman, suggested Gene, and we met with him, who'd never really starred in a picture ... and we frankly had no other choice, that was it. The way that film was cast, it was like the Movie God took care of it.” – William Friedkin , director of "The French Connection" 5. “I’m not that kind of guy. He was a physical man. We had to go back and reshoot the first two days of scenes because I hadn’t gotten into the character enough.

I wasn’t physical enough.” Alan Weeks Dead: 'French Connection' Actor Was 67 | Hollywood Reporter Courtesy of Photofest From right: Alan Weeks, Roy Scheider and Gene Hackman in 'The French Connection' Also a dancer, the Broadway veteran appeared in the original 'Funny Girl,' 'The Wiz' and 'Ain't Misbehavin'.' Alan Weeks, who appeared in the original Broadway production of Funny Girl and played a drug pusher in The French Connection, died on Oct. 10 of a brain aneurysm at home in East Nassau, N.Y., his wife, Sara, told The Hollywood Reporter. He was 67. In a gritty scene in William Friedkin’s classic French Connection (1971), Weeks’ character is chased down by New York City detectives Popeye Doyle (Gene Hackman), dressed as Santa Claus, and Buddy Russo (Roy Scheider), dragged into an alley and abused.

On Twitter, Friedkin called Weeks “one of the best actors I’ve ever worked with.” A native of Brooklyn, Weeks made his Broadway debut at age 10 in the 1958 musical comedy The Body Beautiful, choreographed by Herbert Ross, then appeared in 1967’s Hallelujah, Baby!, with music by Jule Styne and lyrics by Adolph Green and Betty Comden. In the original 1964 Broadway production of Funny Girl, starring Barbra Streisand, Weeks played Five Finger Finney and danced. In the '70s, he performed on the Great White Way in The Wiz and Ain’t Misbehavin', and he directed and choreographed 1992’s The High Rollers Social and Pleasure Club. Weeks made his movie debut in Shaft (1971) and later appeared in the 1974 blaxploitation films Willie Dynamite; Truck Turner, starring Isaac Hayes; and Black Belt Jones, with Jim "Dragon" Kelly.

He also was in the films Lost in the Stars (1974) and Brighton Beach Memoirs (1986), had a regular role on the short-lived 1982 CBS comedy Baker’s Dozen and guest-starred on episodes of Fame and Dallas. In later years, Weeks taught theater in Poughkeepsie, N.Y., and directed productions for the Capital Repertory Theater in Albany, N.Y. In addition to his wife, survivors include sons Brinan and Christian Jack and daughters Demery and Eva Weeks. Gene Hackman - Biography - IMDb Gene Hackman Biography Showing all 108 items Jump to: Overview (3) | Mini Bio (1) | Spouse (2) | Trade Mark (2) | Trivia (72) | Personal Quotes (24) | Salary (4) Overview (3) 6' 1" (1.85 m) Mini Bio (1) Eugene Allen Hackman was born in San Bernardino, California, the son of Anna Lyda Elizabeth (Gray) and Eugene Ezra Hackman, who operated a newspaper printing press.

He is of Pennsylvania Dutch (German), English, and Scottish ancestry, partly by way of Canada, where his mother was born. After several moves, his family settled in Danville, Illinois. Gene grew up in a broken home, which he left at the age of sixteen for a hitch with the US Marines. Moving to New York after being discharged, he worked in a number of menial jobs before studying journalism and television production on the G.I. Bill at the University of Illinois. Hackman would be over 30 years old when he finally decided to take his chance at acting by enrolling at the Pasadena Playhouse in California. Legend says that Hackman and friend Dustin Hoffman were voted "least likely to succeed." Hackman next moved back to New York, where he worked in summer stock and off-Broadway. In 1964 he was cast as the young suitor in the Broadway play "Any Wednesday." This role would lead to him being cast in the small role of Norman in Lilith (1964), starring Warren Beatty . When Beatty was casting for Bonnie and Clyde (1967), he cast Hackman as Buck Barrow, Clyde Barrow 's brother.

That role earned Hackman a nomination for the Academy Award for Best Supporting Actor, an award for which he would again be nominated in I Never Sang for My Father (1970). In 1972 he won the Oscar for his role as Detective Jimmy "Popeye" Doyle in The French Connection (1971). At 40 years old Hackman was a Hollywood star whose work would rise to new heights with Night Moves (1975) and Bite the Bullet (1975), or fall to new depths with The Poseidon Adventure (1972) and Eureka (1983). Hackman is a versatile actor who can play comedy (the blind man in Young Frankenstein (1974)) or villainy (the evil Lex Luthor in Superman (1978)). He is the doctor who puts his work above people in Extreme Measures (1996) and the captain on the edge of nuclear destruction in Crimson Tide (1995). After initially turning down the role of Little Bill Daggett in Clint Eastwood 's Unforgiven (1992), Hackman finally accepted it, as its different slant on the western interested him.

For his performance he won the Oscar and Golden Globe and decided that he wasn't tired of westerns after all. He has since appeared in Geronimo: An American Legend (1993), Wyatt Earp (1994), and The Quick and the Dead (1995). ( 1 January 1956 - 1986) (divorced) (3 children) Trade Mark (2) Prefers to come to a role with minimal rehearsal Trivia (72) Was the first choice to play Mike Brady on The Brady Bunch (1969). He was the sixth choice to play Popeye Doyle in The French Connection (1971). He lied about his age to join the Marines at 16, but left as soon as his initial tour was complete. While at the Pasadena Playhouse, Hackman and a classmate were voted "Least likely to succeed". The classmate was Dustin Hoffman . Was the first choice to play Dr. Hannibal Lecter in The Silence of the Lambs (1991). Turned down the part of President Franklin D. Roosevelt in Pearl Harbor (2001), which went to Jon Voight .

Jailed as a teen (c. 1946) for stealing candy & soda pop from a candy store. One of the most sustaining actors of all time, he still averaged two films a year in his 70s, having starred in six in 2001 alone. This all changed however in 2004, when he last acted in Welcome to Mooseport (2004). He has not appeared in anything since. Has stated that his performance in Scarecrow (1973) is his personal favorite. Revealed on Inside the Actors Studio (1994) that two of the most important factors in deciding on which films he will work on are the script and the money. 2001: Was involved in a road-rage incident when two young men attacked him for hitting their car in Hollywood. Father of Christopher Hackman . He also has 2 daughters named Leslie Hackman and Elizabeth Hackman. Has appeared in three films adapted from novels by John Grisham : The Firm (1993), The Chamber (1996) and Runaway Jury (2003).

Based his role, in The Conversation (1974), on one of his uncles and a fellow Marine he had known well. He characterized the Marine as someone "who probably became a serial killer". Dustin Hoffman came to New York after finishing his training at the Pasadena Playhouse. The two of them roomed together in New York at Hackman's one-bedroom apartment on 2nd Ave. & 26th St. Hoffman slept on the kitchen floor. Originally, Hackman had offered to let him stay a few nights, but Hoffman would not leave. Hackman had to take him out to look for his own apartment. As roommates, Dustin Hoffman and Hackman would often go to the apartment rooftop and play the drums. Hoffman played the bongo drums while Hackman played the conga drums. They did it out of their love for Marlon Brando , who they had heard played music in clubs. They wanted to be like Brando and were big fans of his. Dustin Hoffman asked for the part of Rankin Fitch in Runaway Jury (2003), which had gone to Hackman.

Hoffman admits to asking, "Can't you get rid of Gene and give me the part?". Runaway Jury (2003) was the first time he and former roommate Dustin Hoffman performed on the screen together. Met actor Dustin Hoffman in the first month at Pasadena Playhouse. Had several classes with him. Was admitted into the famed Pasadena Playhouse on the G.I. Bill. He failed out of it after 3 months and moved to New York to continue being a stage actor. Received 1 of the lowest grades the school had ever given (1.3 out of 10). He headed to New York with the intention of proving them wrong. Was the subject of the song "Gene Hackman" by Hoodoo Gurus . Turned down the lead roles in Jaws (1975), Close Encounters of the Third Kind (1977), and Raiders of the Lost Ark (1981). 7/7/04: Appeared on Larry King Live (1985). Larry King was surprised to find out that Hackman had no movies lined up, and Hackman replied by saying that he thinks it is the end of his career.

Says watching his own films makes him terribly nervous. Reportedly turned down the role of Randall Patrick McMurphy in One Flew Over the Cuckoo's Nest (1975). Reportedly turned down one of the lead roles in Network (1976). After he played Little Bill in Unforgiven (1992), Hackman vowed not to appear in any more violent films. After he had been in violent films dating back to Bonnie and Clyde (1967) and The French Connection (1971) (in a role refused by Peter Boyle for the same reasons), he said he was fed up with them. Along with Margot Kidder , Hackman was appalled at the way Alexander Salkind and Ilya Salkind , the producers of the first three Superman films and 1984's Supergirl (1984) film, had treated director Richard Donner , who had directed the first Superman (1978) and most of the second Superman film back-to-back before he was fired by the Salkinds over creative differences.

Hackman, who said he only did the first two movies because of Donner's persuasion, was so angry with the Salkinds that he vehemently refused to reprise the role of Lex Luthor in Superman III (1983), while Margot Kidder , who played Lois Lane, only appeared in a cameo role. Hackman was later persuaded to reprise the Luthor role in Superman IV: The Quest for Peace (1987). Enjoys painting and writing fiction. Lives in Santa Fe, New Mexico. As a young man, Hackman attended a showing of the movie A Streetcar Named Desire (1951) and was impressed by the performance of Marlon Brando due to his naturalism and the fact that he didn't look like what a movie star typically looked like in the 1950s. After exiting the theater, he told his father that he wanted to be an actor. Even though he is no longer a cigarette smoker, Hackman played the role of a chain-smoker in Heartbreakers (2001). He was using a special kind of cigarette that only produces heavy smoke without requiring any inhaling.

Ironically and tragically, in 1962, Hackman's mother Lydia died of injuries incurred from a fire caused by her own smoking. Turned down the lead role of Roy Neary in Close Encounters of the Third Kind (1977) because he was in a troubled marriage and could not spend 16 weeks outside of Los Angeles on location shooting. In a 2004 Vanity Fair story on him, Dustin Hoffman , and Robert Duvall , Hackman said one of the worst memories of being a struggling actor, was working as a doorman in New York City. He recalled having seen former Marine officers pass him by when opening the door for them, of which one had said "Hackman, you're a sorry son of a bitch." While a struggling actor in New York City, he worked as a soda jerk in a pharmacy and as a furniture mover. But told Time Magazine in 2011 that "worst job I ever had" was working nights at the legendary Chrysler Building--as part of a crew that polished the leather furniture.

After flunking out of the Pasadena Playhouse and moving to New York City with fellow drop-out Dustin Hoffman , Hackman worked at the Howard Johnson's restaurant in Times Square as a doorman. One day, a Pasadena Playhouse acting teacher whom Hackman hated walked by him, stopped, and told him that he had been right, that Hackman would never amount to anything. In Robert Osborne 's "Academy Awards 1972 Oscar Annual", Hackman is quoted as saying Errol Flynn was his boyhood idol. Says a poster of Flynn is one of the only movie mementos he has in his otherwise very "civilian" Santa Fe home. 1990: Underwent successful angioplasty surgery after nearly suffering a severe heart attack. Is one of only a few actors to win an Oscar for a supporting role after winning an Oscar for a leading role. (Others to do so are Jack Nicholson , Maggie Smith and Helen Hayes ). In the Superman movies, he didn't like the idea of going bald for his role as Lex Luthor. He was allowed to wear wigs instead, and was convinced to wear a bald cap in only a few scenes.

Has played three fictional Presidents: he plays President Alan Richmand in Absolute Power (1997). His Superman (1978) character, Lex Luthor, became President of the United States in the year 2000, in the DC Comics. He also played President Monroe "Eagle" Cole in Welcome to Mooseport (2004). Hackman replaced George Segal in the role of Kibby in the notorious flop Lucky Lady (1975). Possibly anticipating that the film would be a turkey, Segal bailed out of the production and Hackman was brought in at the last-minute. The desperate producers paid Hackman - riding high from the huge box office success of The Poseidon Adventure (1972)--a reported $1.2 million for his role, $500,000 more than Segal's going rate. Hackman knew co-star Burt Reynolds from starring in the first episode of Burt's short-lived 1966 TV series Hawk (1966).

His performance as Harry Caul in The Conversation (1974) is ranked #37 on Premiere Magazine's 100 Greatest Performances of All Time (2006). Hackman has said that the failure of Scarecrow (1973) turned him off of art films due to the disappointment of working hard on a film that was critically acclaimed, but that tanked at the box office and failed to garner any awards. After this flop, Hackman mainly concentrated on acting for money, turning down such films as One Flew Over the Cuckoo's Nest (1975) and Network (1976) for roles in films like March or Die (1977) and Lucky Lady (1975) that offered him fatter paychecks. Appeared on Richard Nixon 's infamous "List of Enemies" during the 1972 presidential election, the only time Hackman was publicly involved in politics. During an interview on Larry King Live (1985) in July 2004, Hackman stated that although he is a Democrat, he liked President Ronald Reagan , who had died the previous month.

Before he decided to become an actor, he worked numerous jobs including announcing at small radio and TV stations. Studied journalism and TV production at the University of Illinois, where he was voted "Least Likely to Succeed.". Was a Dallas Cowboys fan but now regularly attends Jacksonville Jaguars games as a guest of his friend, head coach Jack Del Rio . In contrast with his on-screen image of tough guy and reactionary, in real life Hackman is said to be an extremely gentle, shy person who holds very progressive political views. Turned down the role of Sheriff Teasle in First Blood (1982). Friends with Kris Kristofferson since Cisco Pike (1972). Turned down the leading role in Sorcerer (1977) that went to Roy Scheider , Hackman's co-star in The French Connection (1971). Both Hackman and his former roommate, Dustin Hoffman , had their big breaks in 1967, Hackman in Bonnie and Clyde (1967) and Hoffman in The Graduate (1967). Distantly related to Jenni Blong . Released his novel, a violent Western, "Payback at Morning Peak" in June, 2011.

In the late 1970s, he competed in Sports Car Club of America races driving open-wheeled Formula Ford. In 1983, he drove in a 24-hour Daytona endurance race. He has also won the Long Beach Grand Prix Celebrity Race. Is one of only four actors to win two Oscars for films that also won Best Picture (the others being Marlon Brando , Jack Nicholson , and Dustin Hoffman ). Did not start acting until he was 25. Release of his book, "Wake of the Perdido Star", by Gene with Daniel Lenihan . [1999] He is the voice on the commercials for the Lowe's home center store chain, and has been for the past couple of years. [June 2007] Release of his book, "Justice For None", by Gene with Daniel Lenihan . [2004] Announces his retirement from acting at the age of 78. [April 2008] Release of his book, "Escape From Andersonville: A Novel of the Civil War", by Gene with Daniel Lenihan .

[2008] Has appeared in six films that were nominated for the Best Picture Oscar: Bonnie and Clyde (1967), The French Connection (1971), The Conversation (1974), Reds (1981), Mississippi Burning (1988) and Unforgiven (1992). The French Connection (1971) and Unforgiven (1992) won in the category and rewarded Hackman for his acting efforts twice. He appeared in four films with John Ratzenberger : A Bridge Too Far (1977), Superman (1978), Superman II (1980) and Reds (1981). He was initially reluctant to take the role of Lex Luthor in ''Superman: The Movie (1978)'' as he didn't want to shave off a mustache he had recently grown. Richard Donner made a deal with him that if he shaved it off, Donner would shave off his as well. After Hackman did so, Donner revealed that the mustache he was wearing was a fake. This made Hackman instantly respect and like Donner immensely.

Got the role in Crimson Tide after Al Pacino turned it down. When asked about friendship in an interview, Robert Duvall replied: "A friend is someone who, many years ago, offered you his last $300 when you broke your pelvis. A friend is Gene Hackman.". Personal Quotes (24) I was trained to be an actor, not a star. I was trained to play roles, not to deal with fame and agents and lawyers and the press. [on aging] It really costs me a lot emotionally to watch myself on-screen. I think of myself, and feel like I'm quite young, and then I look at this old man with the baggy chins and the tired eyes and the receding hairline and all that. [ Dustin Hoffman on him and Hackman as young stage actors and roommates in New York] Psychologically, Gene/myself, we did not think about making it in the terms that people think about. We fully expected to be failures for our entire life. Meaning that we would always be scrambling to get a part. We were actors. We had no pretensions. There was more dignity in being unsuccessful.

[on accepting his Best Actor Oscar] I wish all five of us could be up here, I really do. If I start to become a "star", I'll lose contact with the normal guys I play best. I came to New York when I was 25, and I worked at Howard Johnson's in Times Square, where I did the door in this completely silly uniform. Before that, I had been a student at the Pasadena Playhouse, where I had been awarded the least-likely-to-succeed prize, along with my pal Dustin Hoffman , which was a big reason we set off for New York together. Out of nowhere, this teacher I totally despised at the Pasadena Playhouse suddenly walked by HoJo's and came right up into my face and shouted, "See, Hackman, I told you that you would never amount to anything!" I felt one inch tall. [on seeing Marlon Brando in A Streetcar Named Desire (1951) and becoming determined to be an actor] He made it seem something natural. I wanted to act, but I'd always been convinced that actors had to be handsome. That came from the days when Errol Flynn was my idol.

I'd come out of a theater and be startled when I looked in a mirror because I didn't look like Flynn. I felt like him. I suppose I wanted to be an actor from the time I was about 10, maybe even younger than that. Recollections of early movies that I had seen and actors that I admired like James Cagney , Errol Flynn , those kind of romantic action guys. When I saw those actors, I felt I could do that. But I was in New York for about eight years before I had a job. I sold ladies shoes, polished leather furniture, drove a truck. I think that if you have it in you and you want it bad enough, you can do it. The difference between a hero and a coward is one step sideways. Dysfunctional families have sired a number of pretty good actors. People in the street still call me Popeye, and The French Connection (1971) was 15 years ago. I wish I could have a new hit and another nickname. When you're on top, you get a sense of immortality. You feel you can do no wrong, that it will always be good no matter what the role.

Well, in truth, that feeling is death. You must be honest with yourself. I haven't held a press conference to announce retirement, but yes, I'm not going to act any longer. I've been told not to say that over the last few years, in case some real wonderful part comes up, but I really don't want to do it any longer ... I miss the actual acting part of it, as it's what I did for almost fifty years, and I really loved that. But the business for me is very stressful. The compromises that you have to make in films are just part of the beast, and it had gotten to a point where I just didn't feel like I wanted to do it anymore. [In a 2011 GQ interview, when asked if he would ever come out of retirement and make another film] I don't know. If I could do it in my own house, maybe, without them disturbing anything and just one or two people. [on making The French Connection (1971)] I found out very quickly that I am not a violent person. And these cops are surrounded by violence all the time. There were a couple of days when I wanted to get out of the picture.

(2011, on how he'd like to be remembered) As a decent actor. As someone who tried to portray what was given to them in an honest fashion. I don't know, beyond that. I don't think about that often, to be honest. I'm at an age where I should think about it. (2011, on where he keeps his Oscars) You know, I'm not sure; I don't have any memorabilia around the house. There isn't any movie stuff except a poster downstairs next to the pool table of Errol Flynn from The Dawn Patrol (1938). I'm not a sentimental guy. (2011, on Hoosiers (1986)) I took the film at a time that I was desperate for money. I took it for all the wrong reasons, and it turned out to be one of those films that stick around. I was from that area of the country and knew of that event, strangely enough. We filmed fifty miles from where I was brought up. So it was a bizarre feeling. I never expected the film to have the kind of legs it's had. I'm disappointed that success hasn't been a Himalayan feeling.

[on whether he will ever come out of retirement and act again] Only in reruns. Yeah, that's it. I'm at a place where I feel very good about not having to work all night. [on writing novels] With me it takes quite a long time, at least a year maybe a little more by the time I go through two or three edits, professional edits, but it's still fun because it's always a challenge. Our dreams are usually limited by some kind of reality check and because a guy thinks because he can pluck a guitar a couple of strokes he thinks he's going to be Elvis Presley or whoever. [beginning his acceptance speech at the Golden Globes, when he won Best Supporting Actor for Unforgiven (1992) thinking he wouldn't win] Heck, I've just lost a hundred bucks.

Salary (4) Gene Hackman | Biography and Filmography | 1930 Played a ruthless jury consultant in the thriller feature "Runaway Jury" 2001 Appeared in "The Mexican" in an uncredited cameo 2001 Appeared opposite Owen Wilson in the war drama "Behind Enemy Lines" 2001 Played the rascally patriarch of a dysfunctional family of geniuses in "The Royal Tenenbaums"; Owen Wilson co-wrote script with director Wes Anderson 2001 Landed featured role in "Heartbreakers," a comedy about a mother-daughter con artist team 2000 Starred as a football coach in "The Replacements" 2000 Executive produced and starred in the crime drama "Under Suspicion" 1999 Published first novel Wake of the Perdido Star, co-written with undersea archaeologist Daniel Lenihan; duo co-authored three more novels: Justice for None (2004), Escape from Andersonville (2008) and Payback at Morning Peak (20 1998 In a nod to "The Conversation," played a surveillance expert who assists Will Smith in "Enemy of the State"

 1998 Cast as a dignified movie star married to Susan Sarandon in "Twilight," also starring Paul Newman as a retired detective 1998 Voiced the character of the fascistic General Mandible in the animated feature "Antz" 1997 Portrayed the U.S.

President possibly caught up in murder in "Absolute Power" 1996 Second appearance in a film based on a John Grisham novel, "The Chamber"; played a white supremacist defended by his grandson (Chris O'Donnell) 1996 Played the straight man as a conservative U.S .senator in "The Birdcage," directed by Mike Nichols 1995 Showed comic side as a hack director in "Get Shorty" 1995 Provided formidable opposition to Denzel Washington as the captain of a submarine in the taut thriller "Crimson Tide" 1994 Cast as the patriarch of the family in "Wyatt Earp" 1993 Portrayed a burnt-out lawyer in "The Firm," based on the John Grisham novel 1992 Returned to Broadway in "Death and the Maiden" alongside Richard Dreyfuss and Glenn Close 1992 Delivered fine villainous turn as a corrupt sheriff in Clint Eastwood's "Unforgiven"; received Best Supporting Actor Oscar 1990 Played a film director in Mike Nichols' "Postcards From the Edge," adapted from Carrie Fisher's roman-a-clef 199

0 Underwent surgery for angina, provoking a two-year hiatus from acting 1989 Starred opposite Mary Elizabeth Mastrantonio as father-daughter lawyers on opposite sides of a case in "Class Action" 1988 Earned Best Actor Academy Award nomination as an FBI agent investigating the murders of civil rights workers in "Mississippi Burning" 1988 Acted opposite Gena Rowlands in Woody Allen's "Another Woman" 1987 Reprised role of Lex Luthor in the disappointing "Superman IV: The Quest for Peace" 1986 Played the coach of a small-town Indiana high school basketball team in "Hoosiers" 1985 Played a middle-aged man going through a midlife crisis resulting in an affair in the underrated "Twice in a Lifetime" 1983 Delivered fine turn as a news anchorman in "Under Fire" 1981 Returned to features after "retirement" in supporting role of editor Peter Van Wherry in Beatty's epic "Reds" 1981 Had misfire as comic lead opposite Barbra Streisand in "All Night Long" 1978 Offered deliciously

 sly turn as the villainous Lex Luthor in "Superman"; reprised role in 1980's "Superman II" (shot simultaneously with the first) 1977 Appeared as part of the all-star cast of Richard Attenborough's WWII epic "A Bridge Too Far" 1977 "Retired" from acting for four years 1975 Reprised role of Popeye Doyle in "French Connection II" 1975 Reteamed with director Arthur Penn for "Night Moves" 1974 Portrayed a specialist in planting bugging devices in Francis Ford Coppola's "The Conversation" 1974 Offered hilarious cameo as the blind hermit in Mel Brooks' horror spoof "Young Frankenstein" 1972 Headed the all-star cast of "The Poseidon Adventure" as a defrocked minister who becomes the de facto leader of those who survived the underwater disaster 1970 Breakthrough screen role, NYC detective Popeye Doyle in "The French Connection"; reportedly almost quit film over its violent content; earned Best Actor Oscar 1969 Earned second Academy Award nomination as Best Supporting Actor for "I Never Sang

 for My Father" 1968 Appeared as one of the astronauts trapped in space in "Marooned" 1968 TV-movie debut, "Shadow on the Land" (ABC) 1967 Hired by Beatty to play Buck Barrow in "Bonnie and Clyde"; received first Academy Award nomination as Best Supporting Actor; also initial collaboration with Arthur Penn 1964 First major film role, "Lilith"; also first screen collaboration with Warren Beatty 1964 Rose to prominence in Broadway production of "Any Wednesday" opposite Sandy Dennis 1963 Broadway debut, "Children at Their Games" 1961 Feature film acting debut, small role as a cop in "Mad Dog Coll" 1961 Appeared with the improvisational troupe The Premise in Greenwich Village 1961 Made impression with guest appearance on the debut episode of the CBS series "The Defenders" 1959 TV acting debut on the episode "Little Tin God" of CBS' "U.S.

Steel Hour"; later appeared on several other installments of the show 1958 Made stage debut opposite ZaSu Pitts in "The Curious Miss Caraway" at the Pasadena Playhouse 1958 New York stage debut in "Chaparral" 1950 Broke both legs in a motorcycle accident 1946 In addition to writing novels, Hackman also painted landscapes. . Hackman had heart surgery in June 1990 after which he slowed down his work load. "The illness left the actor and sometime sketch artist determined to move to the marble quarries of Carrera, Italy, to become a sculptor. But 'Unforgiven' changed things ... " – from "Tough Guys Don't Talk" in Newsday, June 19, 1994 . On his status as an "Everyman", Hackman told the Associated Press (March 11, 1998): "One would like to think of oneself as being special, as being artistic or romantic. Not common. I mean, Everyman means common in some kind of way. And common doesn't denote any kind of artistic talent or artistic intent.

So, in some ways, it sounds to me like a put-down. But I don't think people necessarily mean it that way." . BIOGRAPHY: Gene Hackman Lifetime twitter BIOGRAPHY Born Eugene Allen Hackman in San Bernardino, California, Gene’s mother was called Lyda, and his father was Eugene Ezra Hackman. He has one brother called Richard. Hackman was born during the Great Depression years when work and money were both scarce. His family moved from town to town a great deal, finally settling in Danville, Illinois, when Hackman's father found work as a printing operative at the local newspaper. The family moved in with Hackman’s maternal grandmother, Beatrice. Eugene and Lyda divorced in 1943, when Hackman was 13 years-old. Three years later, he decided to enlist with the Marine Corps. He served three years as a marine, during which time he worked as a field radio operator. It was around this time that he caught the acting bug. As a child, he’d been inspired by movie stars like James Cagney and Errol Flynn.

But, in 1951, he attended a showing of the film 'A Streetcar Named Desire' with his father, and was so impressed with lead actor Marlon Brando’s performance that as he was leaving the cinema after the movie, he told his father that he wanted to become an actor. "Psychologically, Gene and myself did not think about making it in the terms that people think about. We fully expected to be failures for our entire life." - Dustin Hoffman After completing his military service, Hackman headed off for New York, where he worked in a wide range of menial, low-paid jobs before deciding to move back to Illinois to study TV production and journalism. At the age of 30, Hackman moved back to California, where he joined the Pasadena Playhouse in order to train as an actor, thanks to the student funding that was made available through the G.I. Bill. Hackman didn’t do particularly well at the Playhouse, though, and flunked out of his course after just three months of study. Whilst at the Playhouse, however, he became friends and later room-mates with another aspiring actor called Dustin Hoffman.

Interestingly, the two budding actors, who were both destined to become Academy Award winners in years to come, were both voted “least likely to succeed” by their class-mates. Piqued and infuriated by the put-downs he'd received whilst studying at the Playhouse, Hackman returned to New York to pursue his dreams of acting, closely followed by his friend Dustin Hoffman, and another young actor called Robert Duvall. The threesome found it a struggle to survive in the Big Apple whilst waiting for their “big break”; at one stage, Hackman was working as a hotel doorman when one of his instructors from the Playhouse walked past. “There, I told you that you wouldn’t make it!” jeered the instructor. Happily, Hackman went on to prove him wrong. Room-mates Hoffman and Hackman would often go to the rooftop of their New York apartment building and play the drums: Hackman played the conga drums and Hoffman played the bongo drums. They played music as a kind of homage to their mutual idol Marlon Brando, who they’d heard played music in clubs.

Amusingly, Dustin Hoffman has said about this period, “Psychologically, Gene and myself did not think about making it in the terms that people think about. We fully expected to be failures for our entire life. Meaning that we would always be scrambling to get a part.” Hackman gained his first experience of acting in several off-Broadway plays until finally, in 1964, he was offered the opportunity to co-star in a play called 'Any Wednesday', alongside actress Sandy Dennis. This role turned out to Hackman’s passport to Hollywood, and was soon followed by offers of film acting roles. Hackman’s first movie acting role was a small part playing a character called Norman in the movie 'Lilith', starring Warren Beatty, made in 1964. But he didn’t really begin to hit the big time until he took the part of Buck Barrow in 'Bonnie and Clyde' (1967), which earned him an Oscar nomination for Best Supporting Actor. He received a second nomination for the same award three years later, for his part in 'I Never Sang For My Father', which starred Melvyn Douglas and Estelle Parsons.

Hackman finally succeeded in winning an Oscar - this time for Best Actor - for his stunning performance as Popeye Doyle in the blockbuster movie, 'The French Connection' (1971). Critics and film buffs alike consider this to be one of Hackman’s most memorable roles, and it established him once and for all as a leading man in Hollywood. Leading roles in 'The Poseidon Adventure' (1972) and Francis Ford Coppola’s 'The Conversation' (1974), which was also nominated for several Oscars, followed his success as Popeye Doyle. Interestingly, Hackman’s performance as Harry Caul in 'The Conversation' was ranked number 37 in Premiere Magazine’s 100 Greatest Performances Of All Time in 2006. Hackman himself said that he based his acting of this role on one of his uncles and a fellow marine he had known well. He also commented that the marine “probably became a serial killer.” That same year, Hackman showed movie audiences that he had a gift as a comedic actor too, by playing the Blindman in the Mel Brooks movie, 'Young Frankenstein'.

During the 1970s, he also played the role of Major General Stanislaw F. Sosabowski in the glossy war epic, 'A Bridge Too Far' (1977). He then went on to play a starring role in the original Superman movies, giving memorable performances as the villainous Lex Luthor in 'Superman: The Movie' (1978) and 'Superman II' (1980). Throughout the 1980s, Hackman moved effortlessly between leading and supporting roles, and earned himself yet another Academy Award nomination for his part as Agent Rupert Anderson in 'Mississippi Burning' (1988). He became renowned for his ability to “become” the characters that he played, and for the versatility of his acting styles. He delivers brutal, hard-edged performances in dramas such as 'The French Connection' and 'Mississippi Burning', but is also capable of performing hilariously funny comic turns like in 'The Birdcage' (1996) and 'Heartbreakers' (2001).

As the Nineties dawned, Hackman encountered major health problems, and was forced to take a break from acting while he underwent heart surgery in 1990. But he was soon back on form, and fit enough to play the part of the violent sheriff Bill Daggett in 'Unforgiven', directed by Clint Eastwood. Although Hackman initially turned down the part, this movie actually won the Academy Award for Best Film. Hackman’s stellar performance earned him yet another Oscar, this time as Best Supporting Actor. However, in an interview given after the film came out, Hackman vowed not to appear in any more violent movies. In a press interview, he stated that his role of Max Millan in 'Scarecrow' (1973) is his own personal favourite, but that he was put off acting in art house movies like 'Scarecrow' when the movie turned out to be a box office flop; Hackman went on to explain that he found it very disappointing to work hard on a film that then failed to make money, or earn any awards. According to Hackman, he based his subsequent choice of movie roles not simply on the virtues of the script, but also on the size of the pay cheque.

Although he’d only been paid $100,000 for his Oscar-winning performance in 'The French Connection', by the late Seventies, he was commanding $2 million for his role in 'Superman'. Gene Hackman’s personal life has been relatively serene by Hollywood standards, at least. In 1956, he married Faye Maltese, with whom he had three children; Christopher Allen, Elizabeth Jean, and Leslie Anne. The marriage lasted some 30 years, but hit a stormy patch in the late 1970s; the story goes that Hackman turned down the lead part of Roy Neary in 'Close Encounters of the Third Kind' in 1977, because the film schedule involved 16 weeks of location shooting, and since he was having marital problems, he didn’t want to leave Los Angeles for such a long period. Hackman and Faye finally divorced in 1986. Hackman married his second wife, Betsy Arakawa, in 1991.

Hackman has also flexed his creative muscles as a writer, and has written two novels in conjunction with the underwater archaeologist, Daniel Lenihan, namely 'Wake Of The Perdido Star' (1999) and 'Justice for None' (2004). Until he reached his seventies, Hackman averaged two movies per year, but his film career has recently slowed down. In July 2004, Hackman appeared on the Larry King show, and said that he had no film projects lined up and that he considered that his acting career was over; his last movie was called 'Welcome To Mooseport', which received unfavourable reviews from the critics. Hackman continues to do sound voiceovers for TV commercials, such as Oppenheimer Funds, United Airlines and Lowe’s Home Improvements - but who knows, he may yet stage a movie comeback...

Question: What character was played by Gene Hackman in 'The French Connection'?
Answer: Popeye Doyle