Review: The Taking of Pelham One, Two, Three

Four gunmen, headed by ice-cold Brit Mr. Blue (Robert Shaw) hijack the title NYC subway train, asking for a million dollars within an hour- or one passenger will die per minute. Mr. Blue is aided by disgruntled former conductor Mr. Green (Martin Balsam), volatile, ex-communicated mafia guy Mr. Gray (Hector Elizondo), and the rather quiet Mr. Brown (Earl Hindman, later of “Home Improvement” semi-fame). The deadly serious Mr. Blue is matched against transit cop Garber (Walter Matthau), who listens to Mr. Blue’s demands, tries to keep things calm whilst the authorities and the city Mayor (Lee Wallace) scramble. Meanwhile, he also spends time speculating with his cop buddy Jerry Stiller as to how the hell these loons are planning on getting away with this crazy scheme. Tony Roberts turns up as Warren LaSalle the Deputy Mayor, whilst Doris Roberts (pre-“Raymond”) is the Mayor’s wife, who suggests the Mayor will have 18 sure votes if he pays the ransom (there are 18 passengers).

 

This terrific 1974 caper may be the crowning achievement in the modest career of director Joseph Sargent, predominantly a TV movie director though he later directed the infamously awful “Jaws- The Revenge” and the solid “White Lightning”. Sargent keeps things fairly basic, tense, taut, and wryly funny – the latter mostly thanks to a pitch-perfect Walter Matthau. It’s full of seemingly authentic 70s NYC flavour and characters, and extremely well-acted across the board. When I think of 70s New York in cinema, I think of “Dog Day Afternoon”, “Shaft”, and this film. It also inspired Quentin Tarantino to go with a colour-derived name theme for his breakthrough “Reservoir Dogs”.

 

Walter Matthau and steely-eyed Robert Shaw (typically one of cinema’s finest portrayers of efficient, unflinching villainy) are a perfect match, while unhinged a-hole Hector Elizondo and disgruntled Martin Balsam are choice in support. Meanwhile, every cut away to Lee Wallace’s clearly unwell mayor gets funnier than the last. Even behind glasses, Shaw has the most intimidating, serious stare. The man means business, and there’s some fun in watching Shaw know he’s holding all the cards – or the passengers – and that he doesn’t have to give the authorities a damn bit of leeway. Can’t deliver the money on time? Stiff shit, not his problem. Find a way to get it done. Look out for familiar faces like Kenneth McMillan and Julius Harris in small roles as cops. Burly McMillan especially makes his few minutes count.

 

The clever screenplay is by con/caper movie specialist Peter Stone (“Charade”, “Mirage”, “Arabesque”, the slave-era conman movie “Skin Game”). Based on a John Godey novel, there’s some ingenious twists and turns, especially in regards to the criminals’ escape plan. In fact, wondering how these guys plan to get away with what they’re doing is one of the chief hooks of the movie. It keeps you intrigued.

 

The original and the best, accept no substitutes. This is a really enjoyable, well-made 70s caper flick, an irresistible near-classic. Very loud, very 70s music score by David Shire (“All the President’s Men”, “Short Circuit”, “Monkey Shines”) won’t be for everyone however.

 

Rating: B+