El prestamista

A classic. One of the few if not only who portrays not the atrocity at the surface, but the trauma afterward. No evil SSers in their black uniforms of death. It might have been more entertaining and simple to understand. Instead the movie captures the evil in the victim. There are the walking dead. Those who survived. For them living was nothing but survival. The setting is NYC of the 60s. This movie will outlive most movies. It is a true classic in the psychological genre. The only minor flaw is the clownesque character of Jesus. Rod Steiger puts down an excelling performance as the character of the pawnbroker. A very esthetic filming in black and white.

"The Pawnbroker" (1964): Directed by Sidney Lumet, scored by Quincy Jones, and starring Rod Steiger. This is one of the most powerful character studies in all of film history. It's up there with "Lawrence of Arabia" and "Taxi Driver". Shot in some of the most beautiful, gritty, black and white photography, set in Harlem, often using the real environment and passersby, this work has the feel of anti-Hollywood, which is completely appropriate for the story of a Jew tortured by the memories of the Holocaust, and the environment of pawn brokering. There's not a single moment of comedy, and many moments that feel like Diane Arbus could be seen lingering nearby. Steiger's ability to express withheld expression – anger and pain trying to burst from his impenetrable shell - is awe inspiring. When I first saw this film in the 60's, I knew I wanted to see everything this man did.

Powerful drama centering around elderly NYC slum-area pawnbroker (Rod Steiger in Oscar nominated performance), tormented by his painful memories of Nazi concentration camp nightmare. Embittered, he brushes off all friendly people in his life, insisting that nothing matters and emotions are wasted.

Apparently "playing the system" for years, allowing king-pin thugs to use his store as a money laundering "front", while collecting his "cut", the no-nonsense pawnbroker is suddenly plagued by flashbacks, showing how his young wife and son are killed, and at once wanting to stop the evil workings of his hoodloom infested slum neighborhood. When the young "apprentice" he hired lays his own life on the line to protect him from being shot during a robbery, the pawnbroker shows his first human emotions since the horrific day he lost his family.

The flawless direction, masterful black & white cinematography, haunting Jazz score, along with innovative handling of the themes (racism, prostitution, social reforms, etc.), make this nothing less than a masterpiece. There is a sequence with prolonged nudity, considered daring during the "Hayes Code" years, even if it appears tame by today's standards. The scenes are not gratuitous, but essential to the plot. Still these scenes may make this film unsuitable for pre-teens.

Like Shindler's List, this is a film many may find painful to watch. By 1965 standards, the mere attempt of giving insight into the evils of the Holocaust was a strong move. The resulting product withstood the test of time and will endure. Named as his personal favorite work, "The Pawnbroker" gives us Rod Steiger's finest performance! Highly recommended.

This is in my 50 best movies of all time list.

Rod Steiger,a gifted actor, is at his very best here portraying Sol Nazerman, a pawnbroker who is completely shut down emotionally.

Through flashbacks, some fast, mostly slow, we see both the joy and subsequent horror of Sol's life in Nazi Germany, when his wife and children are swept into the camps and killed. Sol's deepest pain is that he survived and he carries it visibly. Nothing touches him. He is removed from humanity, living a life outside anyone else's.

This is never more exemplified than at his shop, where he is behind bars, often in shadow, while humanity moves outside, sometimes pleading with him, sometimes just wishing to make an emotional contact to no avail.

Brilliant black and white photography. Quincy Jones' music underscores this, it is jazzy 60s type of music, loud and vibrant, totally contrasting with the dark, dead world of Sol.

The supporting cast are terrific and the outdoor location shooting in New York is riveting. The movement of street life against the heaviness of Sol's plodding.

I still find it hard to believe that Rod lost the Oscar to Lee Marvin in the forgettable "Cat Ballou" (!!) that year.

This has to be seen by any serious lovers of movies. The last scene, done in one continuous take is heartbreaking, Sol finally getting in touch with the pain he has buried so deeply. Gut wrenching stuff. 9 out of 10.

The Pawnbroker is a very disturbing film. The title character, Sol Nazerman,

played by Rod Steiger, is an aging Holocaust concentration camp survivor

running a pawnshop in New York. A young hispanic man who works in the

pawnshop looks up to Steiger's character, hoping to learn from the older man's years of experience and expertise in both financial and other business matters.

Steiger's character is emotionally closed throughout the entire length of the film. Jarrring flashbacks to the time when Nazerman was happy with his wife and two small children become increasingly menacing and tragic as the Nazi

domination and cruelty become more dominant. Steiger's character survives his family. The guilt attached to that survival haunts Nazerman as he numbly

proceeds throughout the present-day portions of the film.

This movie takes a huge risk even in it's premise because the title character is never really likable. You certainly have empathy for what Nazerman has

experienced in his life, but the harsh and dismissive way in which he treats both people close to him and the tragic figures who frequent his pawnshop leave you little choice but to have mixed feelings about this man.

Rod Steiger is excellent. It's incredible to think that less than three years later after playing this character, an elderly Jewish concentration camp survivor,

Steiger won an Oscar for his portraying southern bigoted police chief Bill

Gillespie in Norman Jewison's In the Heat of the Night.

Sidney Lumet's direction is excellent. The photography is a starkly shot black and white with a grainy almost documentary-type feel to it. The score by Quincy Jones is somewhat uneven, with inappropriate upbeat instrumentation intruding in to somber scenes.

All in all, a very good film, but definitely excruciatingly somber in tone.