THE TAKING OF PELHAM ONE TWO THREE (1974)

Thrillers that defined and preserved the 1970s for future generations could, for most people, be counted on one hand: Dirty Harry, The French Connection, Death Wish, The Conversation, All the President's Men (and one could maybe make a case for Klute and Three Days of the Condor). 

But one film often left out is one that isn't as well-remembered on a count of its main characters or the cultural zeitgeist it tapped into, but rather its premise, setup, and execution. In that respect, it's likely the same reason why my 70s-obsessed self never got to it earlier. Yes, folks, as of 2019, consider me late to the Taking of Pelham One Two Three party.

Walter Matthau as Lt. Zachary Garber

Robert Shaw as Mr. Blue

Hector Elizondo as Mr. Grey

Earl Hindman (Yes, Wilson) as Mr. Brown

Martin Balsam as Mr. Green

On an ordinary day in Beame-era New York, a color-coded group of armed men take 18 passengers of the Pelham 1:23 subway car hostage for (Dr. Evil-style pinkie to mouth) one million dollars. 

Dick O'Neill as Frank Correll

O'Neill co-starred with Matthau in The Front Page that same year.

Jerry Stiller as Lt. Rico Patrone

Peter Stone (adapting the novel by Morton Freedgood (pen name John Godey)) does again what he did so well with Charade (1963). A lean, mean (but not mean-spirited) thriller, Pelham smartly rides through its darker, dangerous elements with an undercurrent of wry humor that keeps it all from getting bogged down. Taking that and the use of telephones/walkie-talkies into account, it occurs to me that Die Hard owes a lot more to this film than I ever thought before.

Pelham's hostages, all from different backgrounds, are memorable, 

likable, and pull together to try and help each other.

Matthau's stepdaughter Lucy Saroyan plays a hostage.

Perhaps the word "undercurrent" is too mild when describing Pelham's humor. Almost everyone in this film gives as good as they get in the snark department.

Well, except these guys, but their last lines are so good that I won't spoil them here.

(They're played by Sho Onodera, Toru Nagai, Conrad Yama, and Tura Nakamura respectively.)

The key here, of course, is contrast. Because while the hero and most of the other characters are cinematic New Yorkers through and through, the main villain is a cool, calm, measured Englishman who's willing to fulfill his plan by any means necessary.

Never raising his voice (except at Mr. Grey), Mr. Blue's

cold demeanor suggests he's a professional long before

bits of dialogue reveal his past.

Not to join the chorus, but yes, that yellow tie certainly is a look.

Despite having less screentime than many of his other well-known films, Matthau's Garber still has his star quality written all over him. Seemingly the only worker in his area concerned for the hostages' safety (a sentiment even the mayor doesn't share), he's arguably the closest thing the movie has to a moral compass, chiefly keeping the film from becoming too cynical and downbeat. The quips he makes to the criminals certainly help too.

Like Columbo, Garber's rough edges hide an officer who's 

damn good at his job and an intellectual match for the villain.

Pelham is also a great example of showing us characters without backstories to inform their personalities. Now as a screenwriter, I'm not against backstories on principle, if they are worked into the story organically and are thematically relevant. But sometimes, in a keep-it-moving thriller whose backbone is in its premise and how the villains' plan will unfold, you have to be economical. Basically, to quote 1996's Scream: "[I]t's a lot more scarier when there's no motive".

Unlike the 2009 film, Bernard Ryder gives us his personality

in his behavior, (relative) etiquette, and interactions 

without the need for a full backstory.

Over the course of the film, we do get pieces regarding the pasts of the gang. Interestingly, one bit left out of the film altogether is the novel's stated cause of Mr. Grey's ejection from the Mafia: Running a protection racket, he still beat up those under protection even when they paid, thus deeming him bad for business.

Out of the four villains, Mr. Brown unfortunately gets short shrift due 

to his role and his place in the subway car

However, the difference with this film is that these bits are worked in naturally, i.e. conversations between Mr. Blue and the inexperienced Mr. Green, to break up the scene's tension if need be.

It was actually difficult for me to get screencaps of the gang, 
as the film is quite darkly lit at times.

Despite being a masterclass in thrills, tension, and clashing personalities, Pelham runs little more than an hour and 40 minutes and doesn't waste a beat. And that ending shot! (No, I won't post it here. Most of you know what it is already.)

AND THE REST...

James Broderick (Matthew's father) as Denny Doyle, 

Mr. Blue's first hostage.

Lee Wallace as the Mayor, 15 years before he was Gotham's 

mayor in Batman, and three years before lookalike 

Ed Koch took the NYC mayor's office in real life.

Tony Roberts (no relation to Doris) as Deputy Mayor Warren LaSalle.

Doris Roberts (who also appeared in 1971's A New Leaf)

as the Mayor's wife Jessie.

Kenneth McMillan as Borough Commander Harry

Beatrice Winde as new NTA hire Mrs. Jenkins

Julius Harris as Inspector Daniels

Years ago, when I saw Pete 'n' Tillie (1972), a train compartment scene made me 

wish Live and Let Die's Tee Hee would show up and try and kick Matthau's ass.

So imagine my surprise when Tee Hee himself shows up and 

speeds down the NYC streets with Matthau in tow.

TIDBITS AND SUCH

There are 70s thriller scores, and then there is David Shire's masterpiece of brass and percussion that is and deserves a category all its own. 

The Japanese poster adapts the original US poster, adding a neat image of the subway route as well as the train silhouette in the corner. I'm not a fan of the red title font, however, which seems to make the film out to be a horror movie. Surely the original yellow font (or a brick-brown version of it) would have sufficed.

And I just had to share this hilariously inaccurate Italian poster. Not only does Garber never fire his gun in the actual film (nor does Mr. Green ever wear that outfit, let alone look this trigger-happy), but when the actual hell did Doyle Lonnegan make a return appearance?

Copyright © Chynna Moore