#Philip D'Antoni

[watching-pictures-move]

Movie Review | The Seven-Ups (D'Antoni, 1973)

This review contains mild spoilers for this movie and The French Connection.

After the opening scene where Roy Scheider and Jerry Leon more or less do a Three Stooges routine in an antique shop, we get a scene where a beat cop complains to his lieutenant that he doesn’t agree with their methods, that their conduct is unbecoming of the badge. And his lieutenant brushes off these complaints, basically saying that one may not like how these guys operate, but they certainly get results. This is a spinoff of sorts of The French Connection, with Scheider playing the same character (or at least another character inspired by the same real life police officer), and I think this scene illustrates the difference between the two. Both present policework at its extremes, but this movie wants to justify these methods and wants you to like these characters. The other movie doesn’t care either way. And here these methods get results. In The French Connection, they famously do not.

The comparison is also unfavourable because Philip D’Antoni as a director lacks the obsession of William Friedkin. The earlier movie effectively locked you into the rhythms by which its protagonist operated, its famous car chase scene just a more visceral expression of his one long chase mentality. This plays more like a series of scenes, some of which, like a trap sprung in a car wash, are entertainingly realized, but the whole thing never really builds like the earlier movie, as it takes far too long for any of this to cohere into a connected story. As the cops step up the forcefulness of their tactics, the movie approaches the free-associate verve of something like Rome Armed to the Teeth, Umberto Lenzi’s poliziotteschi which plays less like a coherent story than an urban nightmare of cop vs crook brutality, but the movie never gets mean or spontaneous enough to work on that level.

That being said, a ‘70s crime movie set in pre-cleanup New York is going to have a good amount of visual interest, and when you cast a guy like Roy Scheider as the hero and Richard Lynch and Tony Lo Bianco as the villains, or Joe Spinell (love seeing his sweaty, pockmarked mug anywhere) in a supporting role, there’s going to be a baseline of enjoyment in the proceedings. I watched this as part of the Criterion Channel’s series on ‘70s Car Movies, and this very much has a great car chase, a bit more conventional (and less reckless) than the earlier movie, but nevertheless overwhelms you with its sheer volume (the roar of engines is constant, as is the honking of horns), while making great use of the city’s geography and density, both cops and crooks swerving so as not to plow through a crowd of schoolchildren in one of the funnier moments.

[byneddiedingo]

The Seven-Ups (Philip D'Antoni, 1973)

Cast: Roy Scheider, Tony Lo Bianco, Larry Haines, Richard Lynch, Bill Hickman, Jerry Leon, Victor Arnold, Ken Kercheval, Lou Polan, Matt Russell, Joe Spinell. Screenplay: Albert Ruben, Alexander Jacobs, Sonny Grosso. Cinematography: Urs Furrer. Production design: Ed Wittstein. Film editing: John C. Horger, Stephen A. Rotter. Music: Don Ellis. 

The Seven-Ups has sections that remind me so much of Jean-Pierre Melville's crime films, that I found myself wishing that Melville had directed it. I can sense director Philip D'Antoni striving for the kind of ambience Melville achieved in movies like Bob le Flambeur (1956) and Le Doulos (1962), and in Roy Scheider he has the kind of actor like Alain Delon or Jean-Paul Belmondo who could bring off a certain world-weary style. D'Antoni does succeed in using New York City settings as effectively as Melville does with Paris, but there's a slackness to the film's pacing, a lack of energy and tension, that undermines it. The exception, of course, is the great car chase scene in the film's middle. The Seven-Ups is part of a trilogy of car-chase movies for D'Antoni, who also produced but didn't direct Bullitt (Peter Yates, 1968) and The French Connection (William Friedkin, 1971). The chase in this film almost saves it from being just another movie about vigilante cops using unsanctioned methods to take out criminals, a subgenre that reached its peak in Clint Eastwood's Harry Callahan movies, Dirty Harry (Don Siegel, 1971), Magnum Force (Ted Post, 1973), and The Enforcer (James Fargo, 1976). 

[mariocki]

The Seven-Ups (1973)

"Hey, do me a favour, huh? Don't tell me what I know. Listen to what I'm saying. The guy you iced was a cop."

"Okay, so he was a cop!"

[wheelsgoroundincircles]

"Bullitt" (1968) was director Peter Yates' first American film. He was hired after Steve McQueen saw his 1967 U.K. feature "Robbery," with its extended car chase. Joseph E. Levine, whose Embassy Pictures had distributed "Robbery," did not like the film much, but Alan Trustman, who saw the picture the week he was writing the "Bullitt" chase scenes, insisted that McQueen, his Solar Productions partner Robert Relyea and producer Philip D'Antoni (none of whom had ever heard of Yates) see "Robbery" and consider Yates as director for "Bullitt."

Bullitt is notable for its extensive use of actual locations rather than studio sets, most notably the city of San Francisco, California, and its attention to procedural detail, from police evidence processing to emergency-room procedures. Yates' use of the new lightweight Arriflex cameras allowed for greater flexibility in location shooting.

At the time of the film's release, the exciting car chase scenes featuring McQueen at the wheel in all driver-visual scenes generated prodigious excitement. Film critic Leonard Maltin has called it a "now-classic car chase, one of the screen's all-time best." Fellow critic Emanuel Levy wrote in 2003, "'Bullitt' contains one of the most exciting car chases in film history, a sequence that revolutionized Hollywood's standards."

Drivers' point-of-view shots were used to give the audience a participants' feel of the chase. Filming took three weeks, resulting in 9 minutes 42 seconds of pursuit. McQueen, a world-class racecar driver at the time, drove in the close-up scenes, while stunt coordinator Carey Loftin, stuntman and motorcycle racer Bud Ekins, and McQueen's usual stunt driver, Loren Janes, drove for the high-speed parts of the chase and performed other dangerous stunts.

Billy Fraker, the cinematographer for the film, attributed the success of the chase sequence primarily to the work of the editor, Frank P. Keller.

The editing of the scene was not without difficulties. Noted editor Ralph Rosenblum wrote in 1979, "Those who care about such things may know that during the filming of the climactic chase scene in 'Bullitt,' an out-of-control car filled with dummies tripped a wire which prematurely sent a costly set up in flames, and that editor Frank Keller salvaged the near-catastrophe with a clever and unusual juxtaposition of images that made the explosion appear to go off on time." (Wikipedia)

[kinonostalgie]

Released October 17, 1968, Bullitt is an American action drama thriller film directed by Peter Yates and produced by Philip D'Antoni. It stars Steve McQueen, Robert Vaughn, and Jacqueline Bisset, with an original score by Lalo Schifrin.

[70s80sandbeyond]

Randy Jurgensen, Richard Lynch, Sonny Grosso, Tony Lo Bianco, Victor Arnold, Philip D'Antoni, Jerry Leon and Roy Scheider on the set of "The Seven-Ups"

[gotankgo]

The Seven-Ups (1973) is a gritty crime thriller starring Roy Scheider. It comes recommended, especially for a car chase sequence that remains one of my absolute favorites of the genre and is presented here in all of it’s white knuckling velocity. Director Philip D'Antoni had previously served as a producer on Bullitt, followed by The French Connection so he understands the value of an intricately constructed chase scene

Here’s the full feature for the curious

[cinematic---monologue]

Drei vergessene Fortsetzungen

Three forgotten sequels

French Connection ll  (John Frankenheimer, USA, 1975) Meine Wertung: 5/10 (IMDb 6,7/10)

More American Graffiti (Bill Norton, 1979) Meine Wertung: 7/10 (IMDb 5,4/10)

2010 (Peter Hyams, 1984) Meine Wertung: 6/10 (IMDb 6,7/10)

English version below

French Connection ll

Popeye Doyle ist ohne Russo (Roy Scheider) in Marseille unterwegs um Bösewicht Charmier (Fernando Ray) zu schnappen, der am Ende von The French Connection entkommen kann. Der ganze Film spielt in Marseille und hat daher schon eine ganz andere Stimmung als der erste Teil, in dem das NYC der frühen siebziger Jahre eine wichtige Rolle spielt. Zwischen Doyle und seinem französischer Partner Barthélémy stimmt die Chemie nicht, was auch daran liegt, dass Doyle ihn unentwegt beschimpft. Überhaupt ist aus dem rauen, cholerischem aber liebenswerten Doyle ein hysterisch und hilfloser Unsympath geworden. Der komplette Mittelteil zeigt ihn als Heroinabhängigen (Charmier hat ihn entführen und unter Drogen setzen lassen) und anschließend den Entzug. Im Anschluß zündet Doyle das Hotel, in dem er gefangen gehalten wurde, an, was für ihn ohne Konsequenzen bliebt. Völlig unglaubwürdig. Und so zieht es sich bis zum unspektakulären Showdown, bei dem vor allem viel gelaufen wird.

Entertainment Weekly sieht das anders und gab dem Film volle 100% und schreibt: So etwas wie ein Kunstfilm - vielleicht der zutiefst absurdeste und pessimistischste Kriminalfilm, der je gedreht wurde.

Für den, der mehr vom original French Connection Feeling haben möchte, empfehle ich The Seven-Ups (1973) von Philip D'Antoni und mit Roy Scheider in der Hauptrolle.

Popeye Doyle und sein französischer Kollege Barthélémy - die Chemie stimmt nicht.

______________________________________

More American Graffiti

Am Ende einiger Filme gibt es eine "Was aus ihnen wurde" Montage. Daraus einen ganzen Film machen? Viele Kommentare auf IMDb nennen More American Graffiti überflüssig und sinnlos. Aber wer hätte nicht gerne eine "Fortsetzung" von Animal House mit Belushi als Senator gesehen?

Zwar bliebt Curt (Dreyfuss) außen vor, aber das weitere Leben der meisten Nebencharaktäre - Terry, Debby, Millner etc. - wird anekdotenhaft beleuchtet. Jeweils Sylvester der Jahre '64 -' 67 steht eine Figur im Mittelpunkt. Technisch wird das Anekdotenhafte unterstützt durch dem massiven Einsatz von split screen und diversen Seitenverhältnissen, was dem Ganzen die Anmutung eines Fotoalbums gibt. Alles in allem kein Vergleich zum Original, aber eine unterhaltsame Ergänzung.

Milner fährt einen Sieg ein.

______________________________________

2010 - Das Jahr, in dem wir Kontakt aufnehmen

Es bedarf mehrfachen Schauens und das der Film für mich perfekt ist, damit ich ihn mit 10/10 bewerte. Bei 2001 - a space Odyssee bin ich versucht 11/10 zu geben (aber ich bin ja nicht Nigel Tufnel).

Ohne den SF-Hype nach Star Wars, Alien etc. hätte es wohl auch keine Fortsetzung von 2001 gegeben. Clarke veröffentlichte das Buch 1982 und MGM sicherte sich gleich die Rechte. Kubrick war nicht interessiert und der mittelmäßige Regisseur Peter Hyams übernahm. Im Vergleich mit anderen SF-Filmen dieser Zeit, Star Trek, The Black Hole, etc. kann sich 2010 durchaus noch sehen lassen. Gute Tricks, Syd Mead Design und vor allem eine genuine Story.

Aber mit letzterem sind wir auch beim Problem. Russisch und amerikanische Astronauten reisen zusammen zum Jupiter um den Monolith dort zu untersuchen. Währenddessen spitzt sich die Lage zwischen den beiden Weltmächten auf der Erde bis zur Schwelle des Atomkrieges zu.

Die Sovietunion zerfiel aber sechs Jahre später und bereits vor dem Jahr 2010 wirkte der Film 2010 weniger wie ein Science Fiction, den wie Alternativ Reality. Erst durch den Krieg Russland gegen die Ukraine und der wieder greifbaren Möglichkeit eines globalen Konflikts erlangt der Film wieder mehr Aktualität. Und mancher wünscht sich, dass eine zweite Sonne am Himmel erscheint und die Politiker zur Vernunft bringt. Retten würde uns das allerdings nicht. Eine zweite Sonne würde die Erde erhitzen und heutige Szenarien von Klimawandel lächerlich erscheinen lassen. Das hat man damals noch nicht bedacht.

Arthur C. Clarke und Stanley Kubrick als Staatsoberhäupter - ein kleiner Witz am Rande.

Bevor ich die Filme wiedergesehen habe, hätte ich sie anders bewertet. Wirklich enttäuscht bin ich von French Connection ll. More American Graffiti funktioniert nur für Menschen, die auch den ersten kennen und 2010 werden junge Menschen heute kaum noch nachzuvollziehen können.

______________________________________

English version

French Connection ll

Popeye Doyle is without Russo (Roy Scheider) in Marseille to catch villain Charmier (Fernando Ray), who manages to escape at the end of The French Connection. The whole film takes place in Marseille and therefore already has a very different atmosphere than the first part, in which the NYC of the early seventies plays an important role. There is no chemistry between Doyle and his French partner Barthélémy, which is also due to the fact that Doyle constantly insults him. In general, the rough, choleric but lovable Doyle has become a hysterical and helpless unsympathetic character. The entire middle section shows him as a heroin addict (Charmier has had him kidnapped and drugged) and then in withdrawal. Afterwards, Doyle sets fire to the hotel where he was held captive, which has no consequences for him. Completely unbelievable. And so it drags on until the unspectacular showdown, in which above all there is a lot of running.

Entertainment Weekly sees it differently and gave the film full 100%, writing: Something like an art film - perhaps the most profoundly absurd and pessimistic crime film ever made.

For those who want more of the original French Connection feeling, I recommend The Seven-Ups (1973) by Philip D'Antoni and starring Roy Scheider.

Popeye burning down the house.

______________________________________

More American Graffiti

At the end of some films there is a "what became of them" montage. Make a whole film out of that? Many comments on IMDb call More American Graffiti superfluous and pointless. But who wouldn't have liked to see a "sequel" to Animal House with Belushi as a senator?

While Curt (Dreyfuss) is left out, the continuing lives of most of the supporting characters - Terry, Debby, Millner, etc. - are anecdotally illuminated. One character takes centre stage each New Year's Eve of the years '64 -' 67. Technically, the anecdotal nature is supported by the massive use of split screen and various aspect ratios, which gives the whole thing the feel of a photo album. All in all, no comparison to the original, but an entertaining addition.

Milner, Toad, Laurie, Steve and Debbie met again.

______________________________________

2010 - The Year We Make Contact

It takes multiple viewings and the film being perfect for me to rate it 10/10. With 2001, I'm tempted to give it 11/10 (but then I'm not Nigel Tufnel).

Without the SF hype after Star Wars, Alien etc, I don't think there would have been a sequel to 2001. Clarke published the book in 1982 and MGM secured the rights straight away. Kubrick was not interested and the mediocre director Peter Hyams took over. Compared to other SF films of the time, Star Trek, The Black Hole, etc., 2010 is still quite respectable. Good tricks, Syd Mead design and above all a genuine story.

But the latter brings us to the problem. Russian and American astronauts travel together to Jupiter to investigate the monolith there. Meanwhile, on Earth, the situation between the two world powers escalates to the brink of nuclear war.

But the Soviet Union disintegrated six years later and even before the year 2010 the film 2010 seemed less like science fiction and more like alternative reality. It is only with Russia's war against Ukraine and the tangible possibility of a global conflict that the film has regained its relevance. And some people wish that a second sun would appear in the sky and bring the politicians to their senses. But that would not save us. A second sun would heat up the earth and make today's climate change scenarios seem ridiculous. That was not considered at the time.

Before I saw the films again, I would have rated them differently. I am really disappointed by French Connection ll. More American Graffiti only works for people who also know the first one and in 2010 young people today will hardly be able to follow it.

[retrociema]

От семи лет и выше - криминал, боевик США 1973 Рой Шайдер, Виктор Арнольд, Джерри Леон

Герои фильма не обычные полицейские, а полицейские из элитного отдела Seven-Ups. Бадди Мануччи возглавляет группу этих крутых ребят, ведущих расследование похищений, организованных различными кланами мафии. И они добиваются своего любыми способами.  Филип Д Антони (продюсер "Французского связного") выступил режиссером этого напряженного боевика.  

#криминал #боевик #драма

Выпущено: США, Philip D'Antoni Productions Режиссер: Филип Д'Антони В ролях: Рой Шайдер, Виктор Арнольд, Джерри Леон, Кен Керчевал, Тони Ло Бьянко, Ларри Хайнс, Ричард Линч, Билл Хикман, Лу Полан, Мэтт Руссо, Джо Спинелл, Роберт Барр, Рекс Эверхарт, Дэвид Уилсон, Эд Джордан

Перевод: Авторский (одноголосый закадровый) Алексей Михалев

Друзья, по вопросу авторских ( любительских переводов) переводов. Такая публикация происходит по причине невозможности , найти более достойную альтернативу , поэтому выбирается, единственно возможный и адекватный  из вариантов ... Этот фильм имеет  звуковых варианта перевода на русском  Перевод 1: Авторский (одноголосый закадровый) Алексей Михалев Перевод 2: Авторский (одноголосый закадровый) Витя-говорун .

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 6 / 10

Título Original: The Seven-Ups

Año:  1973

Duración: 103 min

País: Estados Unidos

Dirección: Philip D'Antoni

Guion: Albert Ruben, Alexander Jacobs. Historia: Sonny Grosso

Música: Don Ellis

Fotografía: Urs Furrer

Reparto: Roy Scheider, Jerry Leon, Tony Lo Bianco, Victor Arnold, Ken Kercheval, Larry Haines, Richard Lynch, Bill Hickman, Lou Polan, Joe Spinell, Robert Burr, Rex Everhart, David Wilson, Frances Chaney

Productora: 20th Century Fox

Género: Action; Crime; Drama

https://www.imdb.com/title/tt0070672/

TRAILER:

[tcmparty]

@tcmparty live tweet schedule for the week beginning Monday, January 07, 2019. Look for us on Twitter…watch and tweet along…remember to add #TCMParty to your tweets so everyone can find them :) All times are Eastern.

Saturday, January 19 at 3:30 p.m. THE SEVEN-UPS New York City cops wage a war against assorted hoods and criminals after one of their own is brutally killed by a hoodlum. 

[eliza2854]

Jacqueline Bisset’s breakthrough role occurred in 1968 in British director Peter Yates’ film Bullitt opposite Steve McQueen. She was just 24 years old.

The film was a critical and box-office smash hit. It was among the top five highest-grossing films of 1968.

Bisset plays detective Frank Bullitt’s girlfriend Cathy, who is an educated, independent, working woman in love with McQueen’s character.

The film was made by McQueen’s Solar Productions company, with his partner Robert E. Relyea as executive producer. It was released by Warner Brothers-Seven Arts.

Bisset, born in 1944, is the daughter of a Scottish father and French mother. She was brought up in England where she dreamt of becoming a ballet dancer. Her mother taught her to speak French fluently, and she was educated at the Lycée Français in London.

Note 1: Cathy (Jacqueline Bisset) drives a 1964 Porsche 356 SC Cabriolet in Bullitt.

Note 2: The motorcycle McQueen and Bisset are riding is a 1968 Triumph Bonneville.

[howlingmadmoonwolf]

The Seven-Ups (1973)

“When they're on the job, it's hard to tell the cops from the killers.”

[betamaxvcr]

[classicfilmfan64]

Randy Jurgensen, Richard Lynch, Sonny Grosso, Tony Lo Bianco, Victor Arnold, Philip D'Antoni, Jerry Leon and Roy Scheider on the set of 'The Seven-Ups', 1973.

[marcocardelli]

View this post on Instagram

A post shared by Marco Cardelli (the Mentor) (@cardmarc)

Bullitt is a 1968 American action-thriller film directed by Peter Yates and produced by Philip D'Antoni. The picture stars Steve McQueen, Robert Vaughn, and Jacqueline Bisset. The star of the movie, a 1968 Mustang Fastback, was sold at Mecum Auctions for a record price of 3.4 million dollars. Bullitt is also notable for its car chase scene through the streets of San Francisco, which is regarded as one of the most influential in movie history. Sometimes you have to say goodbye to the things you know and hello to the things you dont. Steve McQueen💎 . . . 💎 . . . 💎 . . . #bullit #caferacer #classic #classichelmet #cakil #helmcakil #helmcustom #retro #tracker #m #hondacb #minorfighter #motorcustom #helmbandit #jualmotorcustom #sclamber #motorklasik #mustang #biker #indobikers #sukamoto #medmoto #banditstig #ford #scrambler #bullitmotorcycles #motorbike #motorcycle #marcocardelli @unumdesign #unumfam (presso Ascoli, Marche, Italy) https://www.instagram.com/p/CBSCNipn7ar/?igshid=1tbe8uvkbmvl3