THE TAKING OF PELHAM 1 2 3
US, 2009, 121 minutes, Colour.
Denzel Washington, John Travolta, John Turturro, James Gandolfini, John Benjamin Hickey, Luis Guzman.
Directed by Tony Scott.
35 years ago there was a fine, taut, action thriller about the hijacking of a New York subway train, The Taking of Pelham One Two Three (it set out on its route at 1.23 pm). This version, by writer Brian Heligoland (LA Confidential, The Knight's Tale), is based on the original novel, but the basic plot is much the same as the earlier film. However, this is very much an updated version, a New York with state of the art technology for the running of the subway system as well as internet links for the police as well as the criminals for instant information (on the part of the passengers as well). The background for the crime is financial, Wall St, with allusions to the contemporary credit crunch and crisis.
You can tell it is an up to the minute thriller - as well, for those who follow directors - because it is a Tony Scott film with swirl and moving colour pallettes before the credits are over.
On the other hand, it is also an old-fashioned thriller, a battle of wills and wits (the screenplay a mixture of smart writing and crass aggressivity) between the train controller and the train hijacker. Authorities are concerned that this is another terrorist attack. The film keeps on the move, the tension betwween the two protagonists, the fears of the hostages on the train and some callous deaths, the time limit for delivering $10,000,000 within an hour, the intervention of a hostage negotiating expert and the wise/unwise interventions of the mayor.
Denzel Washington seems to have put on weight, perhaps to show that he is an ordinary New York Joe – although his performance looks and sounds like a performance by Forest Whitaker as well. Washington is always an impressive screen presence and brings great credibility to all his roles. His controller seems an upright character but a back story emerges quite dramatically which shows some moral ambiguity and a test of his personal integrity. (Walter Matthau played the controller in the original.)
John Travolta has opted to be the villain, an unredeemed, vengeful, greedy and violent villain who likes to philosophise about life, money, death and who is comfortable (though with mood swings) keeping in contact with the controller. Travolta lives his role. (Robert Shaw played the hijacker in the original.)
The supporting cast is good, especially John Turturro also convincing as the hostage negotiator who makes some mistakes but is still the expert. James Gandolfini has a cameo as an opportunist mayor.
Tension is in the editing of the race for cars and motorbikes to get the money to the subway within the limited time. As the vehicles race through the Manhattan streets there are several collisions as trucks and taxis run red lights and cause crashes and roadblocks – a bit more realistic than the usual movie rush without incident through urban traffic.
The Taking of Pelham 123 does what it sets out to do: create a tense thriller that takes place over one afternoon in New York City and shows how people respond to unexpected crises.
1.An exciting thriller? A 21st century version of the 20th century film? The contemporary style, perspectives on characters, the subway, crime, the police, the mayor?
2.A New York story, the subway, the stations, the lines, the trains, the control centre? The streets, vehicles, chases and crashes? The bridges and the showdown? Authentic settings? Musical score?
3.The visual style, flash, sweeping colour, the editing and pace?
4.The introduction to Ryder, his gang, on the subway station, the timing, the plan, getting on the train, the confrontation with the driver, in the cabins, control of the passengers? The guns? The drive, the stopping in the tunnel? The on-board policeman, confrontation and his being shot dead? The rail assistant, walking the passengers to safety at the station? The hostages in the carriage? The effect on them, fear? The driver, his talking with Ryder, the suddenness of his being shot? The plan for the passengers to escape, the mother with the boy, the airborne African American, his ultimately taking a stand to defend the mother and child, his being brutally killed? The young man with his computer, talking to his girlfriend on screen, the computer on the floor, photographing the offence, the girlfriend eventually giving this to the authorities? Being broadcast on television?
5.The control centre, Walter Garber and his role, the background story, working his way up through the ranks, going to Japan, the issue of the bribe, the accusation? Audiences presuming that he would not take a bribe – the Denzel Washington presence? The shock of the truth – like the others assisting in the control centre? His superior, the hostile attitudes? The young assistant and his admiration? The staff? Walter’s work, knowledge of the subway, exercising control?
6.The situation, the need for control, the screens, the lights going on, the audience being able to follow with the experts where the train was, where it was going? The contact with the driver? The talking with Ryder, Ryder assessing Walter? The information, the hostages? The demand for ten million dollars, the time limits?
7.The drama of the time, the clocks, the captions illustrating the passing of time? Ryder, his appearance, his moods? Talking with Walter, Walter leaving when Camonetti came in? His outburst, wanting Walter to come back, the hurried getting him back? The exchanging of stories? The young hostage, Ryder making Walter tell the truth in front of everyone? Getting the computer information in the train cabin, about Walter, the TV information?
8.Camonetti, his skills, reputation, arrival, taking over, his experience, the mistake and the shooting? His supporting Walter? Observing, advice to the mayor? His puzzle over the hostility of Walter’s boss? His attitude towards Walter’s confession? The end, the money, in the helicopter, supporting Walter?
9.The mayor, his finishing his term, on the train, with the deputy? Cynical approach? The information, continuing the trip, going to the control centre, his presumption, talking with Ryder, making a fool of himself, Ryder exposing him? The issue of the bargain and the deal, his not accepting it? To go in place of the hostages? Meeting the public, the press conference? Supporting Walter? He and his deputy realising that Ryder had a Wall Street background because of the Iceland story?
10.Walter and the effect of the morning, the phone calls to his wife, the explanations, his taking the bribe to educate his children, compromise? Ryder’s story about the girls in Iceland, his attitude towards money, knowledge of Wall Street dealings? Walter having to go and deliver the money? The hurry?
11.The cars, bringing the money, the bikes, the ten million dollars, the helicopters, the streets? The crashes – and the reckless driving to get the money on time?
12.The staff, the feuds, skills with people or lack of skills?
13.The information about Phil Ramos, seeing his photo, realising the prison connection, the plot and the information, his being shot? His own anxiety and feeling it was his death day?
14.The computer, the pictures, relaying them, on the television, Wall Street and Ryder’s story? The prison background?
15.Meeting the train, the plan, Walter and Ryder in the cabin, releasing the brakes on the carriage, it hurtling through the stations, the controlling boss and his error in judgment about what was happening? The fear for the passengers, the careering train, its stopping? Ryder and his escape? Walter following him? The abandoned station, coming up through the tunnels, to the Waldorf Astoria Hotel and the Manhattan streets?
16.The other members of the gang, their lacking personality, getting the money, going up into the street, being surrounded and arrested?
17.Ryder, separating from the group, in the street, Walter coming out of the manhole, seeing Ryder, pursuing the taxi, on foot?
18.The final confrontation on the bridge, Walter having the gun, the helicopters, talking, Ryder and his failure, Walter shooting him?
19.A robbery drama, a police and hostage drama, the suspense, the personal stories? A good combination?
