L'uomo del banco dei pegni

Harlem pawnbroker Sol Nazerman wants to be left alone. A death camp survivor whose wife and children did not get out he has withdrawn from the world as much as possible in order to cope. The down and out people that frequent his shop get little more than his standard offer. There is no small talk, haggling or eye contact. Take it or leave it. Jesus, his ambitious assistant is treated with the same attitude except when Sol decides to impart some brutal life lessons on what it is to be a "merchant." Grim as his existence is Nazerman seems content to let his life slip away without the pain of feeling anything. This all changes when it's revealed he's running a front for a Harlem crime boss to launder cash. Forced to confront his involvement in criminal activity and constantly reminded of his concentration camp past Nazerman descends even deeper into his own private hell.

From start to finish The Pawnbroker is one tragic journey. Save for the optimistic Jesus the film is populated with characters in various forms of desperation. Rod Stieger as Nazerman is at times almost too painful to watch as he slips in and out of catatonia between the callous and cold diatribes he serves up to those attempting to reach out to him. Jaime Sanchez as Jesus is a bit too strident and Geraldine Fitzgerald's out of her depth social worker too clueless but Brock Peter's stylish thug is a potent dose of reality and highly effective.

Director Sidney Lumet's direction lapses into heavy handedness (slo mo, overlong flashbacks) on occasion bogging the film down while at other times "nouvelle vague" technique produces some powerfully edited scenes. Boris Kauffman's smoky cinematography successfully establishes mood and place stealing shots on Harlem streets and imprisoning Nazerman within the maze of cages in his shop and Quincy Jones quirky score partners nicely with the action and setting.

The Pawnbroker can be a difficult film to get through since the suffering remains unrelenting and Lumet's pacing is erratic most of the way but Stieger's towering performance makes it well worth the ordeal.

Rod Steiger gives the greatest lead-actor performance I have ever seen in the title role of the Pawnbroker. Lumet's direction strikes no false note and neither does the incredibly well-researched and painfully honest script. It's hard to believe how virtually forgotten this true masterpiece of a survivor's private hell. It shows very vividly that even those of us lucky enough to survive the camps need to be ever more rare of spirit to survive without significant trauma scars. Steiger extracts every piece of emotion from his character with a performance that exceeds all that came before it and has never been surpassed. Every aspiring actor needs to view Steiger's performance to realize how magnificent it truly is.

"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.

I recently saw again a couple Lumet projects that I admired, so turned to this.

I think there is something to be said for artists who invent and then convince everyone afterward that what they have just experienced is the way the world is put together.

Some filmmakers do this consistently. Or they do it once, and then just live in the world they've created. Others are amazingly clever at some point, and equally banal at others. Polanski comes to mind.

When this was new, it was groundbreaking, truly an achievement. It worked.

Lumet's approach is actor-centric, not something I particularly value. But it is perfect for an exploration of a man: world growing from an individual. Lumet also likes to use space, but he doesn't know the containment properties of space, only the dividers, so we have the shop will all sorts of walls and fences. The lover's apartment as well.

What was new was this was the first movie — mainstream US movie — to use nudity. Its underwhelming today thank heaven, but rather shocking in its day, especially because the woman is black, and a seller of sex.

In the project, it triggers the most extended flashback sequence, one that involved our hero's deepest disaster. Overlapping flashbacks had been used, most famously in "Manchurian Candidate," which resembles this in some ways. But it hadn't been so fragmented, so apparently integrated into the fabric of the man. We see a desperate whore; he sees his humiliated wife. We see street thugs beating up a drunk; he sees the holocaust.

This cinematic device is now so common as to not be remarkable. Sex (in the form of exposed breasts) and Nazis both had more cinematic power then than now.

Is it greater art if we digest it, even if the work itself becomes ordinary in the process? Seeing this will do to you what happens with the character we see. It will undress your memory, your cinematic memory. If you saw this when you were both young, it will give you a flashback, you living both now and then.

Ted's Evaluation -- 3 of 3: Worth watching.

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.