Remember back to when you were little and you went to a county carnival or fair; there were all sorts of rides like funhouses, spinning tea cups and the mini rollercoaster. The rollercoaster was nothing but an oval loop with two rises on each end. You could take in the entire rollercoaster with a glance – but it was still fun. You could see the end before you started, you knew where the cart was going to go at all times, but the fun of having wind blow through your hair remained. The Taking of Pelham 1 2 3 is just like this – the film reveals its turns far in advance, but you still enjoy it thanks to its brisk pace.
Unlike Scott’s earliest films, any pretense at complex storytelling is gone; Tony Scott just wants to take us all for a ride on Pelham 1 2 3. Despite being a remake, The Taking of Pelham 1 2 3 overflows with Tony Scott’s frenetic and vibrant style. The lackluster Déjà Vu and the loose biopic Domino also had Scott’s flair, but neither kept the pacing or entertainment value that redeems Pelham beyond its all too obvious twists. Tony Scott’s last few films have varied wildly in quality. Some are compelling, edge-of-the-seat thrillers while others get lost in their own moralizing and posturing – but The Taking of Pelham 1 2 3 has none of these issues because it’s far too simple. Man on Fire had a brilliant story of vengeance and loyalty; Domino and Déjà Vu had interesting but flawed fractured storylines; and Pelham, appropriately, has a simple point A to point B plot.
Walter Garber (Denzel Washington) has had a few ups and downs in his career as an employee of the New York metro system. Recently demoted to resume his old position as “maestro” in the subway traffic control center, Walter has the bad fortune to be manning the tunnels when a group of bandits led by Ryder (John Travolta) takes control of train Pelham 1 2 3 (so-named for having left towards Pelham at 1:23 pm). Fortifying their position in a tunnel straight-away, they issue their demand for cash to be delivered within an hour in exchange for the passengers aboard. Ryder begins a round of interrogative battery against Walter as he waits, with FBI Agent Camonetti (John Turturro) and the Mayor of New York (James Gandolfini) listening over his shoulder.
The “twist” of Pelham 1 2 3 is what Ryder is really after. Your average heist movie usually plays its cards close to the chest, only revealing small clues to the audience with the big revelation pay-off at the very end. But Scott plays it differently – and lays Ryder’s cards out for all to see, making the final 20 minutes of the film more of a chase than a showdown. On one hand this premature revelation adds to the story as the Mayor, being a somewhat flattering Bloomberg caricature, spots the financial ploy of Ryder; this marks one of the first movies I’ve ever seen where the twist of a heist movie is figured out legitimately by one of the side characters in time to actually do something about the whole mess. On the other hand, knowing that Ryder’s goal isn’t what all of the on-screen action is working towards makes you feel like you’re wasting time watching events that really don’t matter. In fact, considering the plot, it makes you wonder why the mastermind himself is conducting the heist at all.
Even if the plot doesn’t hold up under moderate scrutiny, the performances more than make up for it. Both Washington and Travolta clearly had fun playing old-time New Yorkers with wry humor infiltrating every line of back and forth dialogue. Denzel, Tony Scott’s weapon of choice, plays the “every man” character Scott always wants him to be. Though the storyline “reveals” a bad side of Denzel’s character, we’re actually left wondering ‘why’d we need to know that?’ Ryder’s point that no one is innocent is all well, good and clichéd, but it doesn’t really help the story or its message. Nor is it all that deep.
While Denzel fills his performance status quo, Travolta and Gandolfini go above and beyond expectations. Ryder’s mini-diatribes about the human condition may be tiring, but they do give Travolta moments to let loose with the goofy, fun-loving persona that’s kept him afloat in Hollywood after some serious film shipwrecks. Similarly, James Gandolfini’s turn as the Mayor may be the funniest part of the film. The story makes no secret of the Mayor’s satirical take on Bloomberg and Gandolfini has fun with it. His glib comments and see-through schmoozing for public opinion make for a fantastic side-character who steals most of the scenes he’s in. Luis Guzman and Michael Rispoli (of TV’s Rescue Me) also make appearances as a member of Ryder’s troupe and as Walter’s boss, respectively.
"The Taking of Pelham 1 2 3" opens June 12, 2009 and is rated R. Drama, Thriller. Directed by Tony Scott. Written by John Godey (novel), Brian Hegeland (screenplay). Starring Denzel Washington, James Gandolfini, John Travolta, John Turturro, Luis Guzman, Michael Rispoli.
