MovieChat Forums > The French Connection (1971) Discussion > Stripping the Lincoln - the real deal

Stripping the Lincoln - the real deal


Since the film's premiere, there have been three questions audiences have walked away asking. 1. What is the meaning of "Do you pick your feet in Poughkeepsie?" 2. What is the meaning of the gunshot at the end of the film? 3. Did they replace the Lincoln Continental Mark III with a second car after they stripped it?

I'm going to try to answer the third topic. The stripping of the Lincoln is loosely based on what happened in the real case. On January 25, 1962, Patsy, Barbara, Tony Fuca, Jacques Angelvin and Francois Scaglia (Nicoli in the film) were taken into custody; the 1960 Buick Invicta, which was shipped from Marseilles to Montreal, then driven to New York City by Angelvin, was impounded by police and taken to the police garage in Maspeth Queens. As there were warrants on the car as well as the owner, the police had the authority to search it for contraband. As the suspects were already in custody, there was no race against the clock to conduct the search, so the mechanics under the supervision of Irving Abrahams (who appears in the film), went over the car inch by inch. What they found was the Invicta had a large cavity behind the wheel well that could easily secret a large quantity of heroin. As the chasis had been caked over with what they deemed to be "Mediterranean mud," the police concluded this is where the drugs were stored.

Unlike the film, the car yielded no large shipment of smack, merely some heroin residue which was presented at trial. The 60 kilos seized in the original case were found in two locations: the basement of Anthony Fuca's apartment in the Bronx and hidden in the ceiling of his father, Joe's, basement in Brooklyn. That these were the actual drugs that were transported by the Buick Invicta has been disputed by some, most probably the attorneys of the accused.

In 1969-70, when director, William Friedkin, was investigating the story for the proposed feature, he spoke with the head garage mechanic, Irving Abrahams, and decided the dis-assembling of the heroin car would become a key component of his film. When Abrahams told him, perhaps offhand, that the police garage was so well equipped that he and his mechanics could dis-assemble and re-assemble a car in 4 hours, Friedkin's imagination was spurred and he determined to make that a suspenseful aspect of the story.

So, in the film, the car is taken off the street before anybody is arrested and any warrants from a judge had been secured, then it is taken to the police garage where the suspects in the case are standing around while, unknown to them, the car is taken apart and put together again; a scene almost solely based on Abrahams' "four hour" assertion. The concept has haunted the film since. In one scene, we see a car stripped to its skeleton, in the next it looks like it came off the showroom floor.

Because he didn't hew to the facts of the real case, Friedkin has been left to explain to a skeptical viewing public the improbable scene as being based on a prideful boast by Irving Abrahams; one which may be accurate, but without any kind of set-up or dialogue that would at least give a plausible explanation, makes for what many see as an unbelievable scene in a believable story.

Also unfortunate for the filmmakers, the Lincoln Mark III did not have a trap compartment under its chassis so a new "hiding place" had to be found. There was a little cubby hole beneath the rocker panel and they were able to cram in two kilos of heroin (not 60) to create the effect.

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You're the man wrfarley, posts like yours should be FAQ stickys on every film board on this site. Ya know what and I bet you think it too- knowing all that I STILL enjoy the car-stripping scene lol!!

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It is a great scene, turtletommy, made with the detail and realism of a documentary. I was responding to a previous thread about this subject. There, almost everyone agreed that a second car was used to replace the one that was stripped.

My hunch is that the filmmakers used a bit of "movie magic." I bet the mechanics dis-mantled the car near the end of filming, and after the scene was wrapped, the car was compacted and trashed. All subsequent scenes of the "re-assembled" Lincoln were shot earlier.

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Sure the filmmakers could have filmed "out of sequence" or used two different 1970 Lincoln Mark IIIs. I wonder if they actually used the same car for the Marseilles and NYC shoots? Wouldn't you think they would've had a back-up car just in case during filming anyway?

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I think you've got it wrapped up in tissue paper and tied with ribbon. We know there were two Pontiacs used in the chase scene, so why not two Lincolns? We also learn from Friedkin's biography, "The Friedkin Connection," that the Marseilles scenes were filmed last, so by then, by my account, with one Lincoln already destroyed, they would have required a second (or possibly third) car. The only thing needed were the license plates.

Also, Ford seems to have had a contract with the producers as its brand is spotted throughout the film: Doyle drives a Fairlane, Sal drives an LTD, the Lincoln Mark III was made by Mercury, a Ford division; Sal's white Comet, the junk car that stored the money, Mulderig's green Torino, and even the white car that broadsides Doyle's car during the chase was a Ford.

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@ wrfarley - thanks for sharing your thorough research into the real story vs. the script. I saw TFC when it first came out and have been a big fan ever since! And as a native NY'r, I love films shot in my hometown. In my case, the reconstructed Lincoln never bothered me as much as why a master mechanic like Irv would tear a car to pieces looking for drugs and check everything but one space that could hold drugs - those infamous rocker panels.

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Also, Ford seems to have had a contract with the producers as its brand is spotted throughout the film: Doyle drives a Fairlane, Sal drives an LTD, the Lincoln Mark III was made by Mercury, a Ford division; Sal's white Comet, Mulderig's green Torino, and even the white car that broadsides Doyle's car during the chase was a Ford.


There is also a couple of Ford Mustangs that appear

http://www.imcdb.org/movie_67116-The-French-Connection.html

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It's not just that scene that seems so real it's like a documentary. For my money, it's the whole movie. The word I use is "gritty", but documentary-like works just as well for me. And that's what I love about this movie, as I posted in a different thread.

This isn't the prettified, Disneyfied NYC of late. This is 1971, junkies and graffiti and burning garbage on abandoned properties. It's Popeye and Russo eating a slice in the f'g freezing cold, while the Frogs dine on Chateaubriand in the warm restaurant across the street.

It's also casting real NYers in their roles. Like you mentioned, that mechanic was the actual police mechanic. "Popeye" and "Cloudy"'s real-life counterparts make it into the movie, and do just fine in their roles as well. And if I'm remembering this right, I think the motorman on the train was an actual motorman as well. And if I'm also remembering correctly, they filmed the Pontiac scene without the proper city permits. I love that!




I want the doctor to take your picture so I can look at you from inside as well.

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I don't know if you've read Friedkin's autobiography, "The Friedkin Connection," but there are some new insights into the making of this film.

I think most fans know that the patrons in the bar raid were mostly off-duty cops and criminals - one exception being the great Al Fann as the Informant. Friedkin wanted Doyle to wade into a tough and rugged mob, and the Screen Actors Guild at the time didn't have a bounty of black thespians that Friedkin needed or, more aptly, deemed tough-looking enough to be convincing. Among the bar patrons was Sonny Grosso's actual partner at the time of filming. His name was Jerry Leon ("Aww, bulls--ter!"), a tough Harlem detective, who would later be featured in THE SEVEN UPS.

More interesting for me was the backstory of the Grand Central Station Shuttle "cat and mouse" scene between Doyle and Charnier. I wondered how on such a low budget the scene seemed so real. Populated with what looked like real New Yorkers going home from work, I thought the scene might have been stolen using hidden cameras. Friedkin's explanation is instructive and interesting.

What happened was he showed up on set and found the casting director had sent only a handful of extras for the day's work. Friedkin was disappointed. He wanted the scene to play against hundreds of unsuspecting commuters, so he sent his extras casting director, Lou DiGiaimo, outside the station to round up as a many "civilians" as he could. DiGiaimo was surprised to find so many people willing to sign releases to work for free for the eight hour shoot.

Friedkin writes about the risks involved. The production carried barely enough insurance. Should somebody have been injured or worse, Friedkin concluded, "I would be writing these memoirs from a jail cell."

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Ha ha! Great info. Real is right. I love it! Makes it even more NY to know that the people on the train really were just commuters. I love the part where Popeye grabs that girl for no apparent reason and starts telling her off about something. Probably the fact that she's not wearing boots.

That little snack stand - where Popeye gets a candy apple, and Charnier gets that drink in that plastic cup that you have to leave behind - is looooong gone, though. I started using the wonderful NYC subway system twenty years later, around 1990 or so, and there wasn't even a trace of it left at that time; not even an empty stand. Just nothing.

But no, I didn't know that about the bar. Good stuff. And of course, The Seven-Ups is fun, too. I love the chase in that one because as opposed to FC, I actually know those roads and that highway. Not quite as good as FC, but then again, what is?

Interestingly, I saw some promos - probably on This TV, I would guess - for FC II. I had no idea there even was a part II. It can't be any good, right? I didn't bother watching. To me, this movie is perfect the way it is and has no need of a sequel. This might ruin my "street cred" to even mention this movie in the same breath as FC, but it's kind of like how The Matrix was great all by itself because it was written that way, and then they had to go and f@ck it all up by doing those two abortions after it. The second one was only eh, so I didn't even bother watching the third one for about a decade until I showed it to my daughter to prove how bad it was. And it was.




I want the doctor to take your picture so I can look at you from inside as well.

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For sheer grit and daring, nothing may have been more dangerous than the shot of Gene Hackman, Roy Scheider and Alan Weeks dashing across Bushwick Avenue at full speed through real traffic during the Santa Claus foot chase. You'll note that Scheider at least has the presence of mind to turn and look to see if the coast is clear before running between the moving cars, Hackman and Weeks never look around. True, it's a slow moving traffic flow, but a car going 7-10 mph can still do real damage to a human body.

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Was that scene as permitless as the ultimate scene under the el?




I want the doctor to take your picture so I can look at you from inside as well.

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To be sure. Running down the street while being filmed from a car window does not require "locking down" the area. That shot of the three actors racing across the street is clearly done in real traffic. Friedkin was crazy.

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Quote That little snack stand - where Popeye gets a candy apple, and Charnier gets that drink in that plastic cup that you have to leave behind - is looooong gone Unquote

I remember thinking at the time, that can't be very hygienic! All that subway dirt.

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Having been born and raised in the city of the time, I attribute the life-long hardiness of my immune system to it. Not to mention I've always loved street food. However, knowing what I know now I'd never touch a candy apple regardless of setting for two reasons: sugar/HFCS is poison, and those things really up your chances of an emergency trip to the dentist. :D

[warning to the squeamish] Of all the icky things I can think of in my time there, the memory that tops the list is the sensation of grabbing a subway or bus pole and having my hand slowly slide down/off as if it had a thin coating of high-viscosity grease applied, which it pretty much had...

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Candy Apples must be what we call Toffee Apples. I used to love them but wouldn't risk my teeth on them now!

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A brief search leads me to believe you are correct. Caramel apples having butter & cream added and being more sticky than crunchy would be a variation, and possibly an even better friend to the dentist...!

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Just watched the film on TCM for the umpteenth time. I originally saw the film in the theater when it first came out. It was a real game changer for its time. I always wondered how they got the car back in so short a time and in such great condition. I read all the answers and theories and while most make sense, I really can't see the owners not knowing it wasn't the same car. I guess the only answer and solution, as the great Alfred Hitchcock remarked, when he was questioned about the feasibility of a scene. He simply replied "Its only a movie".

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I think we've concluded that the scene is a "cheat," shot out of sequence. All scenes of the Lincoln on the street were filmed first, and then the car was destroyed at the end of the production.

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Thanks wrfarley. While watching the disassembly scene I couldn't help but think of the silly way in which Police Squad! redid this scene, and others might appreciate it too. I just managed to look it up, it's in the final episode. To emphasize the French connection, it even starts off with Doyle's line "I know the car is dirty!".

A link that works for now, 17 minutes in:
http://www.dailymotion.com/video/x23z8pl_police-squad-s01e06-testimony-of-evil_creation



Movies are like art; sometimes a masterpiece, but most of the time just worthless crap.

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I just watched the "Police Squad" version. I was a big fan of the show and don't remember this episode (I know it lasted only one season, so how many of them could I have missed?) The gag was very funny, although it was something of a repeat of the Mad Magazine satire of THE FRENCH CONNECTION. In that version, after they tore the car apart, somebody comes up with the bright idea of looking in the trunk.

The whole "Police Squad" episode was funny. I like Frank Drebbin's "stand-up" routine the best.

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