Anybody know why that is? SEVEN-UPS may have been a bit weak on plot, but it was certainly well-directed, both from a visual standpoint and in considering the strong performances by the actors. Not to mention one of the greatest car chases ever put on film.
Which makes me wonder why the guy never directed another movie? Surely he must have been offered other gigs... perhaps he turned them down for some reason...?
Whoops....I meant produced......my bad.....either way...it seems like everything this guy had something to do with turned out to be fantastic.....and yes....that car chase scene is super sick....Bill Hickman was one of the greats when it came to stuff like that...along with Cary Loftin....I still wish I had my 1973 Pontiac Grandville with the 455...same car they wrecked in The Seven-Ups.....only mine was a 2-door...I still know where it is...but I sold it to some kids that didn't take care of it and now...well.....let's just say that it isn't the same as when I drove it...which is a shame....that was one my biggest mistakes ever...getting rid of that car.
shareI know the answer to this. Phil intended to direct another thriller called SMILE, but producing AND directing THE SEVEN-UPS proved too much of a burden. He was not a "Hollywood" guy, as he was (and is) a dedicated family man with 6 kids (his son, Chris, went on to become a producer, too). He held the rights to FRENCH CONNECTION II and CRUISING, but opted to turn to a more lucrative TV contract offered by NBC. There, he produced the show, MOVIN' ON, starring Claude Akins and Frank Converse and exec. produced a couple of TV movie pilots, including STRIKE FORCE. These TV dramas were co-produced with his partner, Barry Weitz.
After the NBC deal lapsed, Phil, for all intents and purposes, retired from movie-making. In the late 90's, he was approached by 20th Century-Fox about doing a "Return of the French Connection"-type movie, re-uniting the original cast and production team, but the deal fell through and Phil returned to active retirement.
Phil was born in the Bronx in 1929 and still maintains residence in New York.
Great info. That answers my question then.
shareVictor, don't forget: once the "Movie Of The Week" format died down, the networks lost alot of power over funding and creativity. About the same time, the studios were losing control to independents like Lucas and Spielberg.
Bottom Line: A small-time guy like D'Antoni could get funding and an audience from the networks and studios up to the early-1970's, but after that, the old system broke down. Think of Spike Lee and how he gets his films done -- 20-30 years earlier, any "Spike Lee's" would have had to do what D'Antoni did. Today, you either get some angel investors or catch a break -- you can't rely on a sympathetic executive at the studio, and certainly not the networks.
There are a couple of other good Phil D'Antoni produced TV movies made circa '72/'73. One is called THE CONNECTION starring Charles Durning as a Jimmy Breslin style investigative reporter; the other is MR. INSIDE/MR. OUTSIDE, which is kind of a bridge between THE FRENCH CONNECTION and THE SEVEN-UPS. This one stars Tony LoBianco and Hal Linden (pre-BARNEY MILLER) as police detectives who uncover a smuggling ring in a Russian consulate.
I'm sure one, if not both of these films are available somewhere. In fact, I'm going to look on Amazon right now.
I remember watching MR. INSIDE/MR. OUTSIDE and THE CONNECTION when I was in high school. They may exist in the "gray market" of home video. I'll start searching.
shareSorry folks, THE SEVEN UPS, as much as one may want to like it for its echoes of THE FRENCH CONNECTION and the presence of the late, great Roy Scheider, is junk. Terrible script, wan idea, derivative (of TFC, even down to many of the same cast members & crew), and honestly, really mediocrely acted, Roy excepted. The glacially paced scenes with Scheider and Lo Bianco, two actors I usually love, are excruciating. Not their fault; it's the director's. D'Antoni was in over his head and attentive only to the car chase, which ain't bad, even though it steals heavily from the best moments of TFC and BULLIT, and no wonder, with Hickman as the man in charge of choreographing it all. Just wish he'd been a little more creative, rather than stealing from himself. Let's be grateful D'Antoni only directed one film.
sharekeljor-1, I'm afraid I've gotta agree with most of your post. Phil D'Antoni was (and is) a stand-up guy in a profession known for phonies; but a director he ain't. I remember THE SEVEN-UPS came out in NYC a week before THE EXORCIST. Upon seeing both films, there remained no doubt who the creative force was behind THE FRENCH CONNECTION. THE SEVEN-UPS was a slow, clunking thrill-less thriller, and everybody knows about the directing in THE EXORCIST. Even THE SEVEN-UPS chase scene is slackly edited.
There is a good unrealized walnut of a story in THE SEVEN-UPS, but the script is remarkably dense. It even lacks insight about what should've been the film's longsuit: the inner workings of the NYPD's undercover police operations.