O Sequestro do Metrô

With all the other plot summaries written here, I won't go into what this film is all about. I just want to say that I don't believe this genre has been done better, either before or since. I first saw "Pelham 1,2,3" when I was 14 at a drive-in theater in Northern CA. It holds a memorable place for me as the first R rated movie I ever saw, as well as the first time I ever heard the "F" word in a movie. But way beyond that, I was so completely sucked into the story even at my young age. Now all these years later, I still am. I own the movie and must see it periodically. I'm so glad, reading all the other user comments, to find that I'm just one of many who absolutely love this film. Walter Matthau, Robert Shaw, Martin Balsam, and the rest of the cast are all brilliant. The comedy in the film is also outstanding and never out of place within the storyline. It simply serves to make the film more realistic. And last but not least, David Shire's score is the coolest. I only wish they had put a soundtrack out for this film. When I watch this movie, the music must be cranked.

Don't bother catching this film on TV. It's always completely hacked up. Rent it or buy the DVD. It will remind you just how much fun movies used to be.

... Thank Goodness it wasn't!

I switched on me TV last night after an evening out and the opening credits of Pelham was just finishing. Not knowing the name of this film (the Carry On listing was clearly not being shown, perhaps the Producer-dude had a revelation of taste!) I began to watch it half-heartedly, whilst prostrate on the sofa.

By the end of the movie, and that glorious last look from Matthau, I was sitting blot-upright with the biggest grin I've had on my face at 2am for a long time!

What a flick! What a film! How good was this simple, little, under-rated, under-stated movie? Very.

See this film, forgive it for being written in the 70-ties, in fact revel in that non-PC fact (the Chinese/Lady jokes are, retrospectively, quite amusing, in a non-Carry On way).

They just don't make 'um like this anymore. Simple, sweet, suspense.

One of my favorite films from the seventies is The Taking of Pelham One, Two Three because it's so New York. Of course the film was shot entirely on location in The Big Apple including the interiors which helped greatly. But more than that, the characters have all the New York flavor about them with one exception.

The cat of course is led by Walter Matthau who plays a Transit Police Lieutenant. His character is a kind of combination of Archie Bunker and Detective Lennie Briscoe from Law and Order, in many ways not terribly admirable. He's also a transit cop and at that time the Transit Police were a separate entity. They were merged into the regular NYPD during the Giuliani administration.

There's no real glory in the Transit Police, these guys were mostly charged with dealing with drunks and kids with loud boom boxes. If a homicide ever occurred the NYPD quickly took it over as they would in most situations. But this ongoing crisis on a train on the Lexington Avenue Local occurs on his watch and it's career make or break case that Matthau is very aware of. And he proves fully capable during the crisis.

The crisis is four men, Robert Shaw, Earl Hindman, Hector Elizondo, and Martin Balsam mount a carefully planned assault on a subway train out of Pelham Bay station in the Bronx in mid-Manhattan and hold it and the passengers for ransom for a million dollars. The outsider to New York is Robert Shaw in one of his best roles, a former British army officer and mercenary. During the course of the robbery they kill a station supervisor played by roly poly Tom Pedi, one very quintessential New Yorker and their coldblooded villainy is established.

In fact the whole cast is a microcosm of the ethnic strains of New York City which makes the film so enjoyable, especially to one who lived there, the first 49 years of his life. Even the mayor is portrayed as a weak, fumbling nonentity and back then our mayor was one Abraham D. Beame who was just that, probably one of the worst mayors the city ever had. Tony Roberts has a very good role as the tough as nails Deputy Mayor concerned about both his boss's political career and resolving the crisis.

The Taking of Pelham One Two Three once the hijack is done is suspense filled and doesn't let up for a moment. I can't give the ending away, but the final shot of Walter Matthau's face as the end title music starts and the credits begin to roll is priceless.

Modern tough-guy filmmakers like Quentin Tarentino acknowledge their debt to this pedal-to-the-metal thriller, directed by Joseph Sargent from John Godey's bestseller. Walter Matthau is a hoot as the savvy NY transit cop who's smarter than he looks, well-matched by Robert Shaw as the icy mercenary whose gang has hijacked a subway car for a one-million-dollar ransom.

This film's been imitated so often because its makers were really at the top of their game. Owen Roizman (THE FRENCH CONNECTION) handled the gritty location photography; scripter Peter Stone contributed terse, funny dialogue; scene-stealers like Martin Balsam, Jerry Stiller, Dick O'Neill and others made their roles indelible; and David Shire's percussive score set a standard for the genre.

The ending is classic. When you have Matthau as your star, this is how to end your movie.

There are many disappointing action pictures out there – this is not one of them. The genius of the film is there is no wasted motion. The picture starts right with the plot – no introduction or character development. The characters are allowed to develop as the plot moves along.

Which brings us to pacing – the pacing in this picture is excellent. It moves right along and never stops, never slows, never goes too fast. This is the strongest element of its success.

Another strength is its economy of motion. Many action pictures bore us with unneeded car chase scenes, shoot-em-ups, explosions and other mayhems that are used as filler when true creativity comes up short. This film needs none of that. Only that which is necessary is shown. Only that which needs speaking is spoken. This film is deftly written and crafted with great economy and this underpins the excellent pacing. It moves right along because there is no wasted motion as there is in most other action pictures.

This does not mean there is no action, there is fabulous action, but only such action as is necessary to move the plot along. There is no action simply to occupy time until the requisite 90 minutes are up.

The directing is equally economical. No fancy shots, shaky cameras, or special effects – just good, straight forward directing.

I doubt this picture could be made today for the above reasons. The script readers would reject it for 'lack of development'; 'not enough action'; 'no romantic interest'; and all the other brainless formulas script readers dole out. The producers would demand 'more action' and 'camera work' from the directors. And, of course, a romantic interest (in some state of undress) would have to be shoe horned in.

Film students should study this picture. From it they will learn that brevity is a virtue and mindless formulas are just that - mindless.