Subway Riders

This needs to be released on DVD. Very much worth your time as an early Robbie Coltrane vehicle. A Humorously befitting forerunner prior to his enrollment in the excellent BBC "Cracker" series. Also featured is Lance Loud the ex-front man of New York's, Max's Kansas City mainstay "The Mumps" in his first film. The Mumps were an important precursor in the New York punk rock scene. I haven't seen this film since the mid eighties. It did embark on some areas of slasher sleaze and cheese which were no different than Abel Ferrara or Herschell Gordon Lewis' era of excellent exploitations in independent film. I would like to see this again someday!

I have watched many movies and this has to be the worst film I have ever seen.

Please do not make the mistake of assuming that this will be entertaining B-movie stuff. Subway Rider's sole claim to fame is that it created a new category of film – Zzzzzzz-movies. Guaranteed to cure insomnia.

Most of the film is shot at night and it is almost impossible to work out what is going on (this film may have worked better on radio!). The cinematographer must have had his lighting rig stolen on the first day of shooting. (I personally suspect, that after reading the script, the cinematographer pawned the lighting equipment so that he could buy enough drink to get him through the 3 days of filming!)

It is no coincidence that 'Driller Killer' was filmed one year before Subway Rider was shot. If Abel Ferrara is not going to hell for wasting our time with Driller Killer, then he is surely going to be fanning hell's flames with his film stock, for inspiring Amos Poe to make Subway Rider.

`Hep cats' may check out this film because it stars underground saxophonist John Lurie. Trust me, they will get everything they deserve! In the film, John Lurie shoots people after luring them to deserted areas with his music playing. After hearing him play the saxophone it is clear that, given time, justice would have been served and a member of the public would have beaten him to the draw.

If you are still thinking of watching this movie please do not ignore the fact that it stars Robbie Coltrane. Subway Rider was Robbie's third film and, despite starring in 'The Pope Must Die', his career never recovered from its downward trajectory.

Series of bizarre murders occur in the New York subway. On the edge detective (super cool Robbie Coltrane) trying to solve the crimes, and his drug addicted wife. Saxophonist getting on the nerves of his call girl neighbor. Lonely woman attracted to the killer.

Murder mystery, poetic narrations about loneliness and yearning. Tilted camera angels, playing with colors and lighting, seemingly unnecessary shots of the city and fast editing, occasionally out of place soundtrack, cheesiness of B-movie slashers - nothing makes sense, but it all fits together perfectly.

'Subway Riders' is by no means classical narrative murder mystery. The story is not important. It is just an excuse to create the mood, and atmosphere. It is a wonderful experiment with style. Style over substance, and yet there is something deeper in that film.

'Subway Riders' is not an easy film to watch. You have to be in some special mood, and without any expectations because it's not your regular thriller. There is no way to analyze this film (at least I can't). If you are into experimental cinema then 'Subway Riders' is something to look up. It is a wonderful treat of unconventional film.

My review was written in May 1981 after a Greenwich Village screening: "Subway Riders" is an atmospheric feature, which in its stylistic fashion accurately captures the feeling of big-city anomie today with a nod to the cine-noir approach of the 1940s. Filmmaker Amos Poe demonstrates a flair for sustained mood and expressive dialog, but at nearly two hours pic is overlong.

Melodramatic tale focuses on a street-corner alto sax player, who takes to shooting down his listeners at night. Fragmented subplots deal with the tough and cynical cop tracking him down, the cop's' strange drug-addicted, a nasty prostitute neighbor of the sax man and her girlfriend, and a mysterious blonde (with young daughter) who weaves in and out of the other characters' stories.

Picture sustains a mood of despair, but is laced with black humor. Lengthy monologs hold one's attention at first due to flavorful writing, but ultimately become wearying in later reels. The sax player is played by both John Lurie and director Poe in different scenes, a ploy that fails in the contrast between Lurie's credibility with his ax and Poe's no-fingering mime.

Supporting cast is effective, with an arresting, uninhibited turn as the junkie wife by Susan Tyrrell. Both she and director Poe deserve credit that name thesp blends comfortably into an "underground" ensemble.

Johanna Heer's neon-lit interiors are quite striking, but film's technical credits generally reflect its extremely low budget. Commercial chances seem limited to midnight and campus dates.

This experimental neo-noir thriller is more interested in style and atmosphere than in its narrative, but it does fascinatingly capture the mood and feeling of urban life.