While many would declare The Exorcist as Friedkin's best film, my vote goes for this groundbreaking crime film, containing arguably the best car chase of the 1970s. (I even enjoy his 1977 film Sorcerer more than Exorcist). The documentary style of this film is unsparing, and yes some could call the film a bit "racist," but supposedly that's how the real Popeye Doyle, Eddie Egan, was.
I love the way New York City looks in this movie. It is a NYC from another time - yes, subway stations did have candy, juice, and soda kiosks and you could bring a candied apple on a subway train. Friedkin fills the film with expansive shots of a pre-World Trade Center skyline, Broadway when giant neon cigarette and liquor signs existed before neon signs advertising Broadway shows, and the various bridges and tunnels.
The relationship between Doyle and his partner Cloudy (played by Roy Scheider) is believable to the point where they act more like brothers than partners. Definitely the prototype for future crime-busting partners in movies and TV.
The movie is rightfully named as one of the essential crime films of the decade and one that can be viewed numerous times.
I love the way New York City looks in this movie. It is a NYC from another time - yes, subway stations did have candy, juice, and soda kiosks and you could bring a candied apple on a subway train. Friedkin fills the film with expansive shots of a pre-World Trade Center skyline, Broadway when giant neon cigarette and liquor signs existed before neon signs advertising Broadway shows, and the various bridges and tunnels.
The relationship between Doyle and his partner Cloudy (played by Roy Scheider) is believable to the point where they act more like brothers than partners. Definitely the prototype for future crime-busting partners in movies and TV.
The movie is rightfully named as one of the essential crime films of the decade and one that can be viewed numerous times.