Film Review: The Taking of Pelham One Two Three (1974)

Film Review: The Taking of Pelham One Two Three (1974) | Ecency

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There have been attempts to portray life in 1970s New York City through a nostalgic makeover, but the general perception of that era remains one depicting economic woes, pollution, collapsing infrastructure, decaying city services, increasing racial tensions, drugs, prostitution and, last but not least, rampant crime. This is perhaps reflected in 1970s Hollywood’s willingness to exploit that grim reality, which resulted in a myriad of films representing New York’s urban jungle, some of which proved to be excellent. One such example is The Taking of Pelham One Two Three, a 1974 film directed by Joseph Sargent, which enjoys a reputation as an action thriller classic.

The plot, based on the eponymous novel by Morton Freedgood (published under the pen name “John Godey”), is set in the New York City Subway, the world's largest rapid transit system which, like the city above, has its share of crime. Many of those crimes will, however, seem petty when four mysterious individuals board a train and, using submachine guns, take control of a passenger car, holding 18 people hostage. The hijackers’ leader, a soft-spoken but menacing British national calling himself “Mr. Blue” (played by Robert Shaw), contacts the authorities and makes a simple demand – they have exactly one hour to deliver one million US dollars, or the hostages will be executed. Lieutenant Zachary “Zack” Garber (played by Walter Matthau) of the New York City Transit Police tries to meet the hijackers’ demands while simultaneously attempting to discover their ultimate plan and identities. The hijackers’ detailed knowledge of train operations suggests that at least one of them is likely a former subway employee.

The original novel, written when spectacular passenger aircraft hijackings filled headlines, was the product of the author’s extensive research on the New York Subway and included so many details that screenwriter Peter Stone had to omit some to prevent enterprising criminals from attempting to replicate the plot in real life. Fortunately, enough realism was retained, and The Taking of Pelham One Two Three can aspire to the title of the most accurate depiction of 1970s New York. The passenger car, where much of the plot unfolds, serves as a microcosm of urban diversity, with passengers of different races, ethnicities, genders and sexual orientations, all exuding simmering tensions even before having to worry about heavily armed terrorists taking them hostage. The sad state of New York affairs is also evident in the underpaid and frustrated city employees and officials who seize every opportunity to vent their frustration through foul language, yelling at colleagues, often with explicitly racist and sexist overtones. Stone’s script shows that the problem exists not only underground but at the very top, in scenes where the mayor (played by Lew Wallace, a character actor with an uncanny resemblance to New York’s future mayor Ed Koch) and his associates debate whether to simply let the terrorists kill the hostages to save taxpayers a million dollars.

This dark vision is made more tolerable for the audience through clever use of gallows humour, as well as Stone’s skill in creating memorable characters even from those who appear only briefly. The film is well served by a diverse and competent cast. Walter Matthau, an actor best known for supporting or comedy roles, is not only effective and believable as the middle-aged, unglamorous protagonist who may lack charismatic looks but can get things done. Robert Shaw is very effective in the somewhat one-dimensional role of a cold and menacing villain, while veteran character actor Martin Balsam adds flavour and even evokes some sympathy as one of the hijackers. Director Joseph Sargent, best known for his prolific television work, handles the action well and keeps the plot moving swiftly to its simple yet ironic conclusion. The Taking of Pelham One Two Three also benefits from an effective soundtrack by David Shire, which mirrors the neurotic tensions of 1970s New York. The film was successful at the box office and received good reviews, but its reputation as a genre classic was somewhat overshadowed by the large number of great Hollywood films made in that period. It took Quentin Tarantino and his homage in Reservoir Dogs for the film to be rediscovered and properly appreciated by cinephiles, which cannot be said for the predictably uninspired and disappointing 2009 remake directed by Tony Scott.

RATING: 8/10 (+++)