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    法国贩毒网 剧照 NO.1法国贩毒网 剧照 NO.2法国贩毒网 剧照 NO.3法国贩毒网 剧照 NO.4法国贩毒网 剧照 NO.5法国贩毒网 剧照 NO.6法国贩毒网 剧照 NO.13法国贩毒网 剧照 NO.14法国贩毒网 剧照 NO.15法国贩毒网 剧照 NO.16法国贩毒网 剧照 NO.17法国贩毒网 剧照 NO.18法国贩毒网 剧照 NO.19法国贩毒网 剧照 NO.20
    更新时间:2024-04-11 05:23

    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 ) 意料之外的结局2006-03-04

           虽然我个人并不太喜欢看枪战,追逐之类的场景,但法国贩毒网却并没有让我失望。整部影片讲的是一对警探搭档处理一宗跨国毒品交易案的故事。
        故事的前半部分节奏较慢,不过还是在一开始就交待了杀手,同时两个主要头目也露了脸,又通过追逐一个犯人引出了那对搭档。
        在警探觉察到毒枭的阴谋后,影片开始了警匪的斗智斗勇,开始是较长时间的跟踪与反跟踪,较多地运用了景深镜头,使观众在看跟踪过程时有出乎意料之感。
        地铁算是双方斗智的一场戏,结果被反方占了优势,法国毒枭的扮演者给我留下了较深的印象,他是一个有着绅士风度却又做着黑暗交易的黑社会老大。感觉拿捏得很准确,以至于在他逃脱时,看到他在地铁里的窗口得意的挥挥手,我竟对他有一点好感。可能因为我一向喜欢聪明而沉着的人。
        当然,不得不提的是汽车追火车的那场戏。刚开始是一个小孩子在阳光下骑着车,接着警探从左边入画,迎面而来的是推着婴儿车的少妇,整个画面节奏舒缓而平静,然后突然的一声枪响使整个气氛变得紧张起来,极大地调动了观众的注意力。惊叫声,枪声,四散的人群使场面顿时变得十分混乱,随着警探的一步步跟进,影片到了一个高潮,那就是汽车追火车的过程,在拍摄汽车的过程中,使用了很多的主观镜头,让观众有身临其境之感,情绪随着车速不断加快。
        然而双方并没有在进行肉搏,警察很快一枪结果了杀手,嘎然而止。结束的干净利落,也使观众悬着的心放了下来,有了休息的机会,使影片的节奏得到调节,同时为下一个高潮作准备。
        由于我看的片子结尾声画不同步,所以不做评述,只是我在看到最后字幕时才得知结局竟然是主犯仍然在逃,是在接受不了,甚至怀疑自己看的是纪录片。怪只怪平时看国产警匪片偏多。邪不胜正,魔高一尺,道高一丈已经成了思维定势。现在想起来,其实这才叫现实,每次都是罪犯被捕或被乱枪打死只能使我们良好的愿望,然而时间不如意的事多得是,这才符合哲学原理。
        突然想起来,其实《逃之夭夭》还不也是通缉犯逃掉了(废话!要不怎么叫逃之夭夭!)

     2 ) 《法国贩毒网》:警匪斗智乐无穷

    这部囊获了1972年奥斯卡5项大奖的电影在今天看来似乎有些平淡,但流畅的剧情、纪录片式的风格、演员精湛的演技,以及如影史教科书般的追逐场面,还是能激起人们巨大的观影快感,借助“波恩”系列复兴的硬派动作电影,可以从这部影片中找到发端。

    影片根据1960年代发生在纽约的真实案件改编,1971年威廉•弗莱德金拍摄此片时,特意把案件的经办人——两个纽约缉毒警探请到了拍摄现场,在再现每一个真实细节的同时,也着力捕捉办案时那种紧张、亢奋的气场。

    法国贩毒组织借助电视明星入境美国可以携带免检汽车的机会,将大量海洛因藏在车体内,到达纽约后,被缉毒警探多尔和鲁索跟踪,在警匪角力的过程中,上演了一出又一出猫捉老鼠的好戏。

    这部影片能够在1972年击败艺术性超强的《发条橙》,荣膺最佳影片等5项奥斯卡大奖,其中很重要的原因就在于,它揭示了当时愈加泛滥的国际犯罪组织进行跨国毒品交易的现实,主题的时效战胜了艺术的永恒,这也是在奥斯卡情理中的事情。

    为了追求影片的真实效果,威廉•弗莱德金采用了类似于纪录片式的影像风格。据说全片用的都是手提摄影,但并不像现在的手提那般晃,而是时常有轻微的震动,一切以营造现场感为宗旨,没有炫技的成分。

    在导演阐述中,威廉•弗莱德金还表示,在他同演员进行排演时摄影师并不在场,而当真正拍摄时,导演要求摄影师自己根据演员的走位来捕捉画面,以此来呈现纪录片式的真实场景。因此摄影轨道便被活动更灵活的轮椅所取代。

    当然最能体现影片风格的还是其中警匪角力的几场戏。有一场戏堪称标准的三角跟踪示范。多尔、鲁索和他们的同行对头穆德里克一同跟踪大毒枭查尼尔,三人在街上成三角排列,一人跟踪疑犯,另外两人在街对面尾随,以备随时交叉替换跟踪。这场戏的场面调度不逊于现在的大片。

    大毒枭查尼尔借助地铁摆脱多尔跟踪的一场戏现在已成为跟踪与反跟踪场面的样板,在地铁即将出站的十几秒时间里,心知肚明的两方你来我往、你进我出,不知被后来的电影模仿过多少遍。

    当然最为人津津乐道的还是多尔驾车追踪轻轨中的歹徒一场戏。架设在车内的主观镜头实时传递出急速行驶的汽车的危险感,再穿插客观镜头比照汽车与架桥上的轻轨并行的场面,把一场警匪斗智斗勇的好戏表现得淋漓尽致。

    多尔和鲁索,这两个传奇的警探拍档在电影中的性格被塑造成一静一动,一个爆裂一个缜密,一个张扬一个沉默,非常有看头。当然影片着重表现的还是张扬的那个,也就是给吉恩•哈克曼带来影帝殊荣的多尔一角。

    吉恩•哈克曼的表演不像现在有些警匪片,把警探的爆裂表现得如同儿戏。他的爆裂是一种生存需要,面对穷凶极恶的毒枭,任何一点软弱都会导致丧命。他生活的全部意义就在于缉毒,工作之余漫无目的地跟踪一个骑自行车的女孩,然后把她带到床上。这种侧笔描写委婉地反映了多尔的内心世界,也让影片在粗厉之余有了很多余味。

    影片在艺术创新之外,也有很高的思想成就。多尔的原型埃迪•伊根在影片中饰演了自己的顶头上司,粗暴地对待下属,这种安排既戏谑又反讽,看后让人莞尔。影片结束前多尔借故枪杀了自己厌恶已久的同僚穆德里克,传神地表达出对这个罪恶世界的控诉。最后的一幕,多尔走向黑暗,枪声响起,影片结束,毒枭出人意料地逃脱,这种意在言外的留白产生出一种不可名状的思想张力。

    《法国贩毒网》对以后的警匪片、枪战片、动作片都产生了重大影响,喜欢这一类型的影迷是绝对不能错过的,其中的搭档设置、警匪追逐、情节安排、场面调度、气氛营造等都堪称经典,但遗憾的是,这种影响没有延续到它的续集当中,枉费了毒枭逃脱的绝妙伏笔。

     3 ) 主题的时效战胜了艺术的永恒

            传奇的警探拍档在电影中的性格被塑造成一静一动,一个爆裂一个缜密,一个张扬一个沉默。打败了发条橙子等众多热门拿到奥斯卡的电影。

     4 ) 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。

     5 ) 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.

     6 ) Rocker Panels

    “执着追求并从中得到最大快乐的人才是成功者”——梭罗


    《法国贩毒网》里所说的Rocker Panels,指的是一左一右车门正下方的两块挡板,有管这叫“迎宾踏板”的,也有叫“门下围板”的,总之,这是车上一个没什么存在感的部分,因为经常被人踩在脚下。所以,当吉米等人将他们怀疑藏有毒品的车拆了底朝天之后,依旧忽略了这个“没什么存在感的部分”。


    吉米是个平时懒散不羁但办起正事来全情投入的主,他的这种热情并不像那些伸张正义的英勇探长们给人安全感,相反的,他近乎偏执的行事方式加重了电影所散发出的不安情绪。经由之前与吉米合作办案的同僚之口,我们得知他甚至因为这已经能够称得上是“狂热”的偏执害死过自己的伙伴。吉恩·哈克曼很好地把握住了吉米给人的这种不安,即便扮演的是一个代表着绝对正义的警探他也试图让观众对他产生厌恶感。他的谈笑、他的暴躁、他跟踪疑犯时的所表现出的难缠和他追击疑犯时从头至尾的玩命(那场开车追逐轻轨的戏即使现在看依然那么精彩),都无不让人庆幸他将这股用在了抓捕毒枭上而不是其他的地方。


    在经过一大串对吉米的刻画后,电影终于来到了个人认为最有意思的部分——拆车。混杂在一连串拆卸剪辑里的,是吉米的面部特写,他从满怀期待到有些迟疑,他在害怕着些什么?他在害怕失落的到来。因为那样的话他所有的坚持都成为新的笑柄。在大伙都放弃的那一刻,吉米站在被拆的零零散散的车前沉默不语,他离承认失败只有一步之遥。想想《迷雾》和《非常嫌疑犯》的结尾吧,没错,失败的原因往往是早一步的投降和晚一步的真相。幸好,汽车的重量和一句“Rocker Panels”及时拯救了吉米,他们拆开了那两块盖板,发现了藏匿其中的毒品,这使得之前的所有坚持都有了意义。


    有人把快乐藏在了Rocker Panel里,就怕没拆开我们已经放弃寻觅。


    2013.11
    http://i.mtime.com/fabzany/blog/7704298/


    p.s.记得以前看过一个叫《香港警察》的港剧,时至今日总算是看到了里面主角张大勇的原型。

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