#dinah washington

sweetietray:

#currentlywatching The Connection (2014)

Um. Wow.

This movie is impressive. I mean on every level. First of all let me say — Dujardin and Lellouche all night, all day.

This movie is so well made and masterfully constructed the technique involved here may even go unnoticed. I have a feeling this movie will age really well and people will find it in a few years and wonder why it was such a hidden gem.

The story of capturing criminals is so more interesting than the crimes of the criminals. We know bad guys are bad but how hard it is to catch them, the courage and determination it takes, that’s a far more compelling story. Because your loyalties lie with the police, watching the criminals make tough decisions when caught is strangely heartbreaking but you’re never asked to be on their side. This movie knows who is right and who is wrong and it isn’t afraid to honor the brave.

Honestly, I liked it a million times more than The French Connection. Here is a film about justice with a capitol “J” – it’s not about being inside or outside of the lines, it’s about doing what’s right. The respectful way violence is portrayed, not with kid gloves but with a sensitivity to the brutality, is refreshing. Where most movies would lean into the blood, this one shows restraint. A rare quality these days.

What Martin Scorsese does for violent crime and violent criminals, director Cédric Jimenez does for smart characters and intense protagonists. It also reminds me quite a lot of Donnie Brasco but the intricate storytelling evolves from cliche to give us more with a seasoned subtlety. Dejordan’s nuanced gambling backstory adds everything to his motivation. The passage of time is dealt with well. Nothing feels skipped, the concentration of information adds to the clarity and tone. Kudos for a film reminiscent of the old salts, but more heartfelt and intelligent.

To that point, the two highest notes of the film aren’t actually the stellar lead characters and they both arrive at the end.

Although generously written and portrayed, I was not interested in the character of Jacqueline  at all until the sequence of setting the table and riding home from work began, ending in an absolutely perfect performance that really made the film about much more than men at work. In that instant I realized how respectful this film was of children, families, and women. Something rarely present in this genre. I hope more people watch this film and fix that error because The Connection is so much richer than its predecessors for this very reason.

The second note is the last piece of music. Although used in Scorsese’s Shutter Island in 2011, Max Richter’s ‘Nature of Daylight” played over Dinah Washington’s “This Bitter Earth"  in combination with the editing in the final scenes is a freaking masterpiece of filmmaking.