The Taking of Pelham One Two Three (1974)

The '70s were arguably the best decade for crime films, and The Taking of Pelham 123 (1974) is a worthy entry. Joseph Sargent's creative thriller influenced a generation of crime films, from Reservoir Dogs to Speed, and directly inspired two remakes. But the original remains in a class of its own.

A quartet of color-coded criminals led by Mr. Blue (Robert Shaw) hijack an NYC subway train. Blue issues a chiling ultimatum to city officials: pay $1,000,000 in ransom money, or he'll kill a hostage every additional minute. The Mayor (Lee Wallace) agrees to pay, but Blue refuses to alter his deadline one iota - and has a few further tricks up his sleeve. Transit cop Zach Garber (Walter Matthau) takes charge of the investigation, keeping his head while his colleagues panic. The crooks always seem two steps ahead of the law, and Garber tries desperately to determine their next move.

Like most crime films of its era, The Taking of Pelham 123 is fairly down-to-earth. Peter Stone's script provides an amusing portrait of New York City, a racial tinderbox with an inefficient bureaucracy slowly lurching into action. Characters swear like sailors, casually drop racial epithets and argue over jurisdiction during hostage negotiations. The city cops and Transit authority jockey for credit (or blame), while the ineffectual Mayor wonders how it might effect his re-election. After viewing this gridlock, we cheer when Garber roughs up an oblivious Transit official (Dick O'Neill) who wants to carry on business as usual.

Of course, Pelham isn't a docudrama and its story is the main appeal. Most thrillers telegraph their twists in advance; Pelham is the rare movie that keeps the audience guessing to the end. Characters' quick thinking keeps the plot moving, unforseen actions (a car crash, a Transit cop pinned down near the train) complicate it. There are a few minor flaws: one of the hostages is an undercover cop, a fact that's virtually forgotten until the end, and the hostages' fate seems a mite convenient. But the clever bits more than compensate for it, especially Blue's grisly demise and the amusing finale.

Director Joseph Sargent shows talent he rarely displayed elsewhere. He keeps the story moving at a deliberate pace, mixing gritty action with a moody semi-docu style. Owen Roizman's photography and David Shire's fine score add to the experience. It's mind-boggling to think Sargent is the same man who directed Jaws the Revenge!

Walter Matthau (Charade) is the perfect Everyman hero. Introduced as a crusty bastard with a chip on his shoulder, his quiet competence, determination and quick-thinking allow him to outwit the criminals. Robert Shaw (A Man for All Seasons) gives an intensely focused, chilling performance: this is not someone you want to mess with. Martin Balsam (All the President's Men) is excellent as the one crook who's slightly likeable; Earl Hindman (The Parallax View) and Hector Elizondo round out the team. For sitcom fans, Jerry Stiller plays Garber's partner and Doris Roberts has a walk-on.

The Taking of Pelham One Two Three was a nice surprise. I went in expecting a decent timewaster and got a near-perfect thriller. Certainly, it deserves its reputation as one of the best, most influential crime films of its era - no mean feat.