Recovered Classic: The Taking of Pelham 123


Much imitated but never really equalled, director Joseph Sargent’s subway car heist caper may look somewhat dated when viewed post-bullet time, but it’s still a no-nonsense genre nugget which can hold its own with genuine ease.

The set-up is deliciously simple. Four men hijack a New York subway train, take 18 people hostage and demand a million dollars. If it’s not delivered in an hour, one passenger will be shot every minute until the cash arrives. The central dynamic is the battle of wits which ensues between chief villain Robert Shaw and transit authority cop Walter Matthau, the latter attempting to buy as much time as possible during their radio exchanges while the former flatly refuses to compromise, coolly completing a crossword as the clock ticks.

All around them it’s utter mayhem. The entire subway system has inevitably been thrown into total chaos for a start, while the flu-ridden mayor can’t decide whether to pay up or not. And while the tunnel may well be swarming with snipers, not to mention all the cops covering the exits, nobody can quite work out how the four crooks are planning to escape.

As the action unfolds (in real time), Sargent neatly ratchets up the tension and keeps his audience guessing, Matthau’s character coming up with most of the questions and possible answers as the authorities attempt to figure out how to save the lives of the hostages and nab the bad guys into the bargain. Curiously, none of this is really helped by Peter Stone’s screenplay (adapted from John Godey’s novel) which is adequate at best. The biggest problem is that it’s too superficial, giving no significant depth to any of the characters. So we never really find out who they are or learn anything telling about their backgrounds. We just know barely enough to service the plot.

Big respect, therefore, must go to Matthau and Shaw in particular, who flesh out their roles with superb characterizations and really breathe life into their creations, no easy feat when the script is left so wanting. It’s no surprise then that the supporting players are left somewhat floundering. That said, Matthau does at least get to exchange insults and generally let off steam at a controller who’s more concerned about getting the trains moving again than the 18 people whose lives are at stake. Which makes for some lively moments. The Mayor, on the other hand, is portrayed as a complete buffoon.
As for the hijackers, it’s interesting to note that they go by the names of Mr Blue (Shaw), Mr Grey (Hector Elizondo), Mr Green (Martin Balsam) and Mr Brown (Earl Hindman). And yes, this is where Tarantino got the idea for Reservoir Dogs. In terms of their overall impact, Elizondo is the loose cannon, the trigger happy hothead who just wants to start the killing, while Balsam is a discredited former subway driver and Hindman, well quite frankly, you rarely notice he’s there.

Yet despite its shortcomings, it remains solidly entertaining stuff, always ready with a little twist up its sleeve to keep things interesting and never short of a well-timed comedy moment, however unintentional (the hijackers’ disguises are riotous).

The 1970s gave us plenty of films that were more action-packed, more powerful and more spectacular, but there’s an indefinable quality about The Taking of Pelham One Two Three and a likeable straightforwardness which makes it hard to resist.

David Lichtneker

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