Tag: film

  • The Filming Locations of “The French Connection” in New York City

    The Filming Locations of “The French Connection” in New York City

    In honor of Gene Hackman, I re-watched his classic role as the gritty NYC detective, Jimmy “Popeye” Doyle in the 1971 film, The French Connection. As any New Yorker will know, many of the locations in the film are familiar but the passage of time has made it harder to pinpoint exactly where.

    Enter Perplexity Pro. Here is the first of what I think may be a series of AI-augmented blog posts called, “Cool things I asked AI.”

    What follows is the output from Perplexity from my prompt

    Where in NYC was the French Connection filmed?


    The 1971 film “The French Connection,” directed by William Friedkin, is widely celebrated for its authentic portrayal of New York City’s gritty landscape during the early 1970s. This groundbreaking crime thriller, which won five Academy Awards including Best Picture, utilized numerous locations throughout the five boroughs to create its distinctive documentary-like atmosphere. Before beginning my detailed exploration of the film’s New York City locations, it’s important to note that “The French Connection” stands as one of the most ambitious location shoots ever undertaken in the city, utilizing 86 separate filming sites and capturing a New York landscape that has substantially changed over the subsequent decades.

    Manhattan Locations

    Manhattan served as a critical backdrop for many pivotal scenes in “The French Connection.” The film effectively utilized various neighborhoods to establish the urban landscape against which the drug trafficking investigation unfolds. One notable location was Le Copain restaurant at 891 1st Avenue, where Charnier dines during a key sequence in the film. The busy streets of midtown provided several important settings, including the scene where Doyle waits outside a restaurant near 50th Street and First Avenue.

    The affluent Upper East Side was featured prominently, with Weinstock’s apartment filmed near 82nd Street and Fifth Avenue, close to the Metropolitan Museum of Art. This upscale neighborhood also housed the Westbury Hotel at 15 East 69th Street, which served as Charnier’s accommodations in the film. Another significant Upper East Side location was Ronaldo Maia Flowers at 27 East 67th Street, where the clever Charnier gives Detective Doyle the slip in one of the film’s most tension-filled moments.

    The Roosevelt Hotel at 45th Street and Madison Avenue appears in a critical scene when Detective Russo first encounters “Frog One,” Alain Charnier. Grand Central Terminal also features prominently, with the 42nd Street Shuttle platform serving as the setting for a tense pursuit sequence. The Lower East Side, with its unique character and gritty atmosphere, provided several important locations, including Ratner’s Restaurant at 138 Delancey Street, a famous Kosher deli where Sal and Angie emerge during surveillance. According to location historians, Ratner’s was once a hangout for gangsters Meyer Lansky and Bugsy Siegel before it finally closed its doors in 2002.

    Additional Manhattan locations included scenes shot in Little Italy, specifically at the 177 Mulberry Street drop point, and the foot of Manhattan Bridge at South Street and Market Street, where Doyle is shown emerging from a bar in his disheveled state.

    Brooklyn’s Starring Role

    Brooklyn provided some of the most memorable locations in “The French Connection,” most notably the setting for what many film historians consider one of the greatest car chase sequences in cinematic history. This iconic chase was filmed in Bensonhurst, Brooklyn, running under the BMT West End Line (then the B train, now the D train). The sequence specifically follows Stillwell Avenue, continues along 86th Street, and then turns right onto New Utrecht Avenue, culminating near the 62nd Street station. This complex action sequence took an astonishing five weeks to film and has become an enduring piece of cinema history.

    Beyond the chase, Brooklyn offered numerous other locations that contributed to the film’s authentic atmosphere. Bushwick provided the setting for Sal and Angie’s Cafe at 91 Wyckoff Avenue. The now-demolished Rio Piedras theater at 914 Broadway on the Bushwick/Bed-Stuy border served as the location for the opening Santa Claus chase sequence. According to historical records, this was originally the Loew’s Broadway, built in 1904 with seating for 2,000, before being torn down in 1988, leaving a vacant lot in its place.

    The Marlboro Housing Project, located near Avenues V, W, and X off Stillwell Avenue, was used to represent where Detective Popeye Doyle lived. Other significant Brooklyn locations included Columbia Heights at Squibb Hill, where Sal parks the Lincoln automobile that contains the smuggled heroin, and Remsen Street, where Charnier and Nicoli observe the car being unloaded.

    Queens, The Bronx, and Island Locations

    While Manhattan and Brooklyn received the most screen time, “The French Connection” utilized locations throughout the city’s other boroughs as well. In Queens, several scenes were filmed in the Ridgewood neighborhood, specifically along Forest Avenue and Putnam Avenue, as well as Onderdonk Avenue. The film also shot scenes in Maspeth, creating a comprehensive view of the borough.

    The Bronx was represented in the film through scenes shot in the Hunt’s Point area, though these locations weren’t as extensively used as those in other boroughs. Two island locations proved critical to the film’s narrative: Randalls Island in the East River appears in several sequences, while Wards Island served as the setting for the film’s climactic final shootout.

    The Triborough Bridge to Randall’s Island toll bridge at the east end of 125th Street was used for scenes where Sal Boca is tailed by the detectives. This infrastructure element helped connect the film’s various geographical components while providing a stark visual backdrop for the unfolding investigation.

    Historical Context and Changes

    “The French Connection” captured New York City during a particularly challenging period in its history. As noted by filming location experts, the city’s decay is front and center in nearly every frame, from “abandoned, grime-covered buildings and derelict cars to crumbling warehouses and trash-strewn lots”. This visual representation of urban decay provided an authentic backdrop for the story’s dark themes.

    Producer Philip D’Antoni faced significant logistical challenges during production, as the film was shot primarily during New York’s unpredictable winter months of December through February to match when the actual events occurred. These weather conditions added another layer of difficulty to an already complex location shoot but contributed significantly to the film’s realistic atmosphere.

    It’s worth noting that the film provides a fascinating historical document of the city’s appearance during this period. Some shots even captured the World Trade Center under construction, with the completed North Tower and partially completed South Tower visible in background scenes at the shipyard after Devereaux arrives in New York.

    Over the decades since filming, many of these locations have undergone significant changes. The beautification of New York City over the past 25 years has come at a price, with many classic New York establishments and mom-and-pop stores replaced by more generic businesses. The gritty New York captured in “The French Connection” largely exists only in films now, providing an important historical record of the city’s visual character during the early 1970s.

    Conclusion

    “The French Connection” stands as a landmark achievement in location filming, utilizing the authentic landscapes of New York City to create a visceral, documentary-like crime thriller. The film’s extensive use of real locations throughout Manhattan, Brooklyn, Queens, the Bronx, and the city’s islands provided viewers with an unvarnished look at urban America in the early 1970s. From the iconic car chase beneath Brooklyn’s elevated subway lines to tense surveillance sequences in Manhattan’s diverse neighborhoods, the city itself becomes a central character in the narrative.

    Beyond its cinematic achievements, “The French Connection” serves as an important visual document of New York during a specific historical period, capturing landscapes and establishments that have since been transformed or disappeared entirely. The film’s commitment to location shooting contributed significantly to its enduring impact and continues to influence filmmakers seeking to capture authentic urban environments on screen.

    Sources
    [1] The French Connection (1971) – Filming & production – IMDb
    [2] Photographing The French Connection – American Cinematographer
    [3] The French Connection (film) – Wikipedia
    [4] The French Connection | Plot, Cast, Awards, & Facts | Britannica
    [5] The French Connection (1971) – IMDb
    [6] Filming Locations for The French Connection – Movie Locations
    [7] French Connection II – Wikipedia
    [8] Filming Locations of The French Connection – MovieLoci.com
    [9] French Connection Tour – Tapatalk
    [10] The Filming Locations of The French Connection, Then and Now
    [11] The French Connection Film Locations
    [12] French Connection – Wikipedia
    [13] Jimmy “Popeye” Doyle – Wikipedia
    [14] The French Connection (film) – Wikiquote
    [15] Exclusive | Secrets of ‘The French Connection’ on 50th anniversary

  • Old Film, Transformed

    Two cities, each on the other side of the world, captured on old film which has been digitized, colorized, and upscaled using neural networks to 4k and 60 frames/second.

    Tokyo 1913 – 1915
    New York City 1911

    Some of the technical details about what Denis Shiryaev, a YouTuber known for restoring vintage videos does to achieve his magic:

    4k upscale – Each frame can be upscaled using specifically-targeted data that perfectly aligns with your footage. Our neural network will “redraw” the missing data and increase the frame resolution 4x or more.

    FPS boosting – A neural network trained via slow-mo movies will artificially generate additional frames for your footage. Even 14 fps films can easily be boosted to 60 fps.

    Denis also ran his algorithms across the famous Trip down Market Street film (recorded just days before the 1906 earthquake). As he narrates, over the course of half a month, he upscaled the origianl and transformed it into a 50,000 frame, 380 gb file, using the algorithms to fill in information that was not captured in the original.

    More examples of his work and services at https://neural.love/

  • “I think that’s the bigger story”

    “I think that’s the bigger story”

    I missed the keynote at ONA 15 last year so I didn’t get a chance to see Josh Singer, the screen writer of Spotlight, on stage interviewing the original members of the Boston Globe Spotlight team (Matt Carroll, Sacha Pfeiffer, Michael Rezendes, and Walter Robinson) that were the subject of the now Oscar-winning film.

    Having just seen the movie last weekend, I can now put this talk into context and it’s fascinating. We get an inside look into early efforts in data journalism and a behind the scenes look at what it was like for the team that uncovered the scandal of child molestation and cover-up within the Boston Catholic Archdiocese.

    While challenging, there is real value in holding back a story until you have the full picture, when you have irrefutable evidence to state your case. This may be difficult in 2016 and the Spotlight team is conscious of the rare moment in time where the masses did not have the benefit of an internet to cross-link scandals from one parish to the next but the newspaper was able leverage email and the Boston Globe website once they published to maximize distribution and impact of their story.

    Twitter, Facebook, and the overall interconnectedness of everyone in 2016 would make it almost impossible to keep something this big under wraps for so long. The temptation and business pressure to publish first would be too great.

    The first Spotlight stories had the team spent months putting the pieces together. That’s an expense that most journalistic institutions cannot spare to chase down a hunch, especially for a metro story. This movie comes at a time when many of the local news desks are being hollowed out and one would hope that the movie and it’s success helps underscore the importance of a strong, independent local press that is uniquely positioned to uncover these stories which hit closest to home.

    For more reading, The Boston Globe has a special section where you can dive into all the original material including the original documents that were put online and the story that revealed the scandal in 2002.

    Oh, the headline of this post comes from the lead into Marty Baron’s speech in the film about why they shouldn’t rush to publish what they initially uncovered, proof that almost 50 priests had been involved.

    I think that’s the bigger story. We need to focus on the institution, not the individual priests. Practice and policy; show me the church manipulated the system so that these guys wouldn’t have to face charges, show me they put those same priests back into parishes time and time again. Show me this was systemic, that it came from the top, down.

    Here’s Marty’s take on the film and the process by which it came together. I’m in ‘Spotlight’, but it’s not really about me. It’s about the power of journalism.

    And here’s a screenshot of the email from Marty to Walter Robinson that was in the presentation from ONA (sorry that it’s blurry, it’s a screen capture from the video).

    marty baron email

  • Francis Ford Coppola on the Amateur

    in the documentary Hearts of Darkness, A Filmmaker’s Apocalypse Francis Ford Coppola’s wife, Eleanor, chronicled the filming and production of her husband’s masterpiece Apocalypse Now. It’s an fascinating film, a meta-commentary of the American entertainment industry as a metaphor for American imperialism and the war in Vietnam. I highly recommend it.

    The clip above comes right before the credits start rolling. A weary Francis looks forward to the return of the amateur who practices film making purely for the art. It’s a prescient glimpse to the world of YouTube and Snapchat artists where we find ourselves today, a refreshing support of new art forms from a lion of the old.

    To me, the great hope is that now these little 8mm video recorders and stuff have come out, and some… just people who normally wouldn’t make movies are going to be making them. And you know, suddenly, one day some little fat girl in Ohio is going to be the new Mozart, you know, and make a beautiful film with her little father’s camera recorder. And for once, the so-called professionalism about movies will be destroyed, forever. And it will really become an art form. That’s my opinion.

  • Modern Family take on Noah

    Variety reports that the TV sitcom Modern Family is going to film an entire episode featuring the UI of phones, laptops, and tablets as a way to tell a story. The idea came from a short film, Noah, that debuted at the 2013 Toronto Film festival and won many awards for it’s innovative commentary on our device-mediated society.

    I’ve embedded Noah below (kinda NSFW, remember Chatroulette?). I look forward to Modern Family’s treatment which will air on ABC February 25th with the title “Connection Lost”

  • Howl 2.0

    UC Berkeley professor Ken Goldberg and documentary filmmaker (and founder of the Webby Award) Tiffany Shlain put together a modern update to Allen Ginsberg’s famous Beat Generation poem, Howl (also purportedly written in Berkeley). Yelp exhorts us all to unplug from from our endless quest for the next info-fix and, “power-down and revisit the present tense.”

    They practice what they preach and encourage everyone to take a “technology shabbat” from sundown Friday to sundown Saturday. I love Berkeley!

    They are working on a feature film which was featured at Sundance this year. Connected, An Autobiography about Love, Death & Technology.

  • Spielberg does Tintin in 3D

    Steven Spielberg and Peter Jackson will release The Adventures of Tintin: The Secret of the Unicorn, as a 3D film in December. The posters were revealed today and the first clips are rumored to be online tomorrow.

    I was a huge Tintin fan growing up so I’m curious to see what happens to the characters after they get the Spielberg treatment.

    UPDATE: The trailer was just posted along with the movie website. You be the judge, does the character animation work for you?

  • Avatar, Performance Capture

    I had a chance to see Avatar this evening and was blown away at what James Cameron has done to evolve the art of motion capture. Anyone who has seen the film would agree that the bar has been moved higher in capturing not only the physical motions but also the full range of emotional power of the actors and overlaying it  seamlessly onto the animated characters.

    The clip below how a whole suite of new technology came together to create what they call, Performance Capture.

  • Go! Go! Speed Racer

    Speed Racer

    Cool! The Wachowski Brothers (directors behind the Matrix) are making a movie based on Speed Racer. There is some whiz-bang technology in the cameras they use and how they are filming that is going to push the boundaries of what it means to use live actors to bring animation to the big screen.

    via The Raw Feed