Well this is really a different-in-tone sequel. Hero Popeye Doyle is filled up with heroin and we see half of the movie him having addiction withdrawal and trying to get back on his feet. His revenge and final confrontation with the bad guy is immensely satisfying at the end.
Taken on its own terms, Frankenheimer's follow-up to the Friedkin classic is not just a muscular action thriller, but another of the director's stark meditations on the themes of alienation & self-destruction. Continuing the loose documentary style of the first film, Frankenheimer also heightens the subjectivity; indulging in almost surreal flourishes & odd stylisations that prolong a feeling of nightmarish paranoia.
Un film relativement bien ficelé qui dénote un bon travail de professionnel et qui, malgré tout, laisse quelque peu le spectateur sur sa faim. Finalement, une déception par rapport à l'ensemble de l'oeuvre de Frankenheimer, une demi-réussite quant au spectacle et à l'action du film. L'éternel cas de figure des "suites" bancales à des films qui avaient eu par le passé un certain succès commercial... www.cinefiches.com
'75's Frankenheimer and '71's Friedkin don't have a dissimilar directing style (both are grittily workmanlike.) The dialogue in '71 is less repetitive and more engaging than the sequel. Yet, 75's climactic action tops the original's finale in terms of excitement, while '75 replaces '71's car chase with a nearly-as-tense foot chase that ends with a memorably jarring final shot. '75's forced junkie idea is great too.
The grit, bustle and vividness of 70s Hollywood realism are here in full flower. Frankenheimer creates a blend of blunt foreground focus, loose but busy background work and temporal indulgence; he has great energy for such a prose-y, workmanlike director. It's the you-are-there voyeurism that makes 70s crime flicks so near to my heart, overriding questions of craft that would otherwise matter more. Great final shot.
Hackman is very impressive doing his Cold Turkey routine, but his oafish patter is too studied, his suits and jackets (even his Hawaiian shirt) too exquisite in their cut, for him to be anything other than a Hollywood character all too kean to remind you of his provenance.
Well, the way police act in France is way different than the way New York's police act, it's quite obvious that this would be a different film. However, did the wrtiers ever thought about their audiences when making this sequel that is a little bit lifeless if compared to the original. Good film but weaker than the previous episode. And this is all fiction; while the other was a real case presented with some changes