The Taking of Pelham 123

A relatively straightforward hostage thriller with the benefit of two A-list leading men in John Travolta and Denzel Washington, The Taking of Pelham 123 is a professionally mounted genre exercise which tries to please both thriller and social drama crowds, and suffers mightily as a result. A streamlined update of Joseph Sargent’s 1974 original, director Tony Scott's film ultimately collapses under the weight of its clashing, disparate styles of storytelling and acting.

Eschewing title cards or lengthy opening credits, Pelham's set-up is efficiently handled: preening thug Ryder (Travolta) and three gun-toting pals seize control of the front car of a New York subway train in the middle of an afternoon, demanding a multi-million dollar ransom for 19 hostages. Walter Garber (Washington) is the city employee who first fields their call. Ryder sets a deadline of one hour, threatening to kill a single passenger for each minute his pay-off is late. With time ticking and options limited — the titular subway car is isolated underground in an area that precludes police response — the mayor (James Gandolfini) and his aides scurry to secure the necessary funds. Meanwhile, Ryder refuses to speak to hostage negotiator Camonetti (John Turturro), drawing Garber back into the proceedings and eventually coaxing out personal details — Garber is the target of a bribery investigation — that may compromise his professional future.

Screenwriter Brian Helgeland's adaptation scores some points for some of its subtle tweaks in characterization; Gandolfini's mayor, unburdened by the niceties of potential re-election, is particularly well drawn and acted. There are also certain narrative parallels to Phone Booth, in which a man is manipulated by a killer and similarly held in limbo for his sins — nominally the fate of Garber, once Ryder gets into his head. But several plot points both small and large fail to connect, whether it’s the misguided attempt at human connection with a hostage talking to his girlfriend on a laptop webcam, or Scott’s decision to intercut the unfolding subway drama with a high-speed police escort of the ransom cash.

Crucially, Pelham's script also raises the issue of a limit on the amount of money that can be readied for a situation like this, then has Ryder initially, and pointedly, ask for a penny more. Despite the fact that this knowledge might help investigators source Ryder's true identity, it is never communicated to Camonetti, or indeed, further discussed at all. It’s a wink for the audience, but makes everyone working to solve the hostage crisis look incompetent.

Apart from their characters' antagonism, even Washington and Travolta seem at odds, as if acting in different films. The former is cool and collected; Travolta, though, is flamboyantly unfocused and over-the-top, which doesn’t seem to match up once Ryder's true identity is revealed. For the full, original review, from Screen International, click here. (Columbia, R, 107 minutes)


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  • 6/17/2009 5:20 PM Anonymous wrote:
    The mayor does realize Ryder is a wall-street guy based on the apparent money limit knowledge.
    Reply to this
  • 6/18/2009 5:38 PM BRS wrote:
    ^ No, NOT based on the money limit knowledge, actually, but instead on other details that emerge... like the fact that Ryder took a hooker to Iceland in 1998? (Yes, seriously...)
    Reply to this
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