a5c7b9f00b In New York, four criminals led by the smart Ryder hijack the subway train Pelham 123, stopping the first car with nineteen hostages in a higher plane in the tunnel in Manhattan. Ryder calls the subway control center and the operator Walter Garber talks to him. The abductor demands ten million dollar and gives one hour to the delivery by the City Hall. The Mayor accepts to pay the ransom while the NYPD negotiator Camonetti assumes the negotiation. However Ryder demands that Garber, who was demoted from an executive position due to the accusation of accepting kickback in the purchase business of Japanese trains, continues to be his liaison with the authorities. Within the tense hour, Ryder empathizes with Garber and asks him to bring the money to the train.
Armed men hijack a New York City subway train, holding the passengers hostage in return for a ransom, and turning an ordinary day's work for dispatcher Walter Garber into a face-off with the mastermind behind the crime.
OK, I HATE it when these directors go for the shaky, really annoying shots! I was sick from the start. This movie is so bad in many technical ways, I am from NY and I know the train system well, who are they kidding? There is a scene where the run away car is zipping by the old She Stadium in Queens and this is supposed to be the Bronx!! HA HA HA they used the 7 train line for many shots but when I saw the old Shea stadium in the background I lost it. In the final scenes where the hijackers leave the Waldorf Astoria Hotel they walk together and get caught???? there are thousands of people walking around park avenue everyday yet the idiot cops knew who they were??? gimme a break I am glad I only rent it from Netflix!
The are so many reasons why this film, originally put on celluloid in 1974, should not have been remade, the No. 1 being that it's difficult to out-act Walter Matthau and Robert Shaw.<br/><br/>This version's leads, Denzel Washington and John Travolta, however, give it their best shot. The problem is I always compare the latest incarnation with the original, and this was never more acute than while watching the newest release "The Taking of Pelham 123," the tale of a ruthless, heavily-armed gang which attempts to hijack a New York City subway train.<br/><br/>Washington is nice guy Walter Garber, a former transit employee bigwig demoted and trying to clear his name. During a routine day at work he finds himself confronting Travolta's "Ryder," (via radio communication) an ex-con who has taken over the Pelham train and demands $10 million for the safe return of the 15-plus hostages (inflation has taken its toll here,the price in the original picture was only $1 million) to be accomplished in a short one hour time limit.<br/><br/>Walter and his superiors want to hand the situation off to NYPD negotiator Lt. Camonetti (John Turturro, "Transformers," "Quiz Show"), but Ryder is having none of it. He's grown to like his conversations with Walter (even killing the train's motorman to prove it). While Washington plays his role cool-as-a-cucumber and almost too low-key, Travolta more than makes up for it, going so far over-the-top that he falls down the other side.<br/><br/>This huffing and puffing performance makes his other more notable bad guy roles (namely "Swordfish" and "Face-Off") look like quiet, introverted, nuanced character studies. Combine that with the innumerable and somehow obligatory F-bombs and you have quite an annoying effort from a fairly decent thespian.<br/><br/>The movie now develops into a game of cat-and-mousethe the clock ticks down and both men feel each other out and force painful revelations from one another.<br/><br/>Meanwhile, the mayor (James Gandolfini, TV series "The Sopranos") becomes involved and sequences of the money transfer and a few more hostage killings are then inserted to liven the action.<br/><br/>Finally,one can deduce, Ryder asks Walter to deliver the money himself, so we get a chance to see the two on camera at the same time. This leads to a stale, safe and muddled ending that had this reviewer scratching his head and hoping for a concluding twist that never took place.<br/><br/>Without any real backstory or motivation, the whole effort seems pretty pointless. In the first film, the steel cool Shaw was a mercenary with an ax to grind with the city and the harried Matthau was an overworked cop caught up in a situation beyond his control. The members of the original movie's gang and individual hostages were also much more interesting,well.<br/><br/>Here, members of both groups are just prop set-ups to be killed on cue. We pretty much know who will die and when. Not too much suspense here, friends. The first movie's bad guys had faces and names (remember Mr. Blue, Mr. Green, Mr. Grey and Mr. Brown the precursor to Quentin Tarantino's bad guys in "Reservoir Dogs"); here, the villains who support Ryder are so undercooked, we could care less.<br/><br/>The grit and feel of the first picture was also conspicuously absent in the new version, too. Here is an antiseptic New York which is so crime and chaos free the mayor can travel to and fro on the subway each day without being confronted by the normal crazies who occupy the city. In addition, the gradual suspense of the 1974 installment is replaced with a rocket fire plot line and scenes of ridiculous automobile rides that result in one of the most ludicrous car crashes on film.<br/><br/>Now, I know many will argue that the special effects alone continue to make these re-makes a necessity, but even for 1974, the action was not bad. Today, with everything being created on a green screens, there are no more exciting moments when we wonder about stuntmen and real crashes and explosions. Now we just watch slack-jawed and think, "Oh, the subway goes 500 miles per hour and then crashes; that's nice." <br/><br/>You know, the more I write about this film, the more I miss 1974.
Scott's redo comes up short in almost every regard against the '74 model–against David Shire's knuckled-brass score, against its mugs' gallery of '70s New York character actors, against Peter Stone's serrated script, and certainly against its wordless punchline.
Four armed men—Bashkim (<a href="/name/nm2963873/">Victor Gojcaj</a>), Emri (<a href="/name/nm2963717/">Robert Vataj</a>), Phil Ramos (<a href="/name/nm0350079/">Luis Guzmán</a>), and their leader, Bernard Ryder (<a href="/name/nm0000237/">John Travolta</a>)—hijack the lead car of a subway train in Manhattan. Ryder contacts MTA dispatcher Walter Garber (<a href="/name/nm0000243/">Denzel Washington</a>) in the Rail Control Center (RCC) and demands $10 million in ransom to be delivered in one hour or they will start shooting the 19 hostages, one for each minute the money is late. The Taking of Pelham 123 is based on the 1973 novel The Taking of Pelham One Two Three by American author Morton Freedgood, writing under the pen name of John Godey. The novel was adapted for this movie by American screenwriters Brian Helgeland and David Koepp. An earlier adaptation of the novel, <a href="/title/tt0072251/">The Taking of Pelham One Two Three (1974)</a>, was released in 1974. A TV remake, <a href="/title/tt0140594/">The Taking of Pelham One Two Three (1998)</a>, was released in 1998. Pelham refers to a local Manhattan train that departs from Pelham Bay Park. The "123" refers to the time that it leaves 1:23. The "taking" refers to a hijacking. After Garber delivers the money, the hijackers start up the train, having found a way to circumvent the dead man feature. They get off the train at the Roosevelt spur, a derelict tunnel built under the Waldorf-Astoria Hotel. The train continues forward, picking up speed until the passengers become alarmed and the authorities at the MTV conclude that no one is driving the train anymore. Fortunately, the train trips a red light and stops. MTV orders all patrol cars to converge at the Roosevelt spur, where they open fire on Bashkim and Emri. Garber follows Ryder, who has hailed a taxi in which he checks his laptop to find that he has successfully shortsold the market and invested in gold, earning a huge profit. Ryder hijacks a truck and follows Ryder's cab to the Manhattan Bridge where Ryder has exited his stalled cab. Garber catches up to him on the pedestrian walkway and confronts him with a gun. Ryder demands that Garber kill him before the police do and gives him 10 seconds to shoot. At the end of the 10 seconds, Ryder reaches for his gun, and Garber shoots him. "You're my goddamn hero," Ryder sayshe sinks to the ground. Later, while on his way home, Garber is stopped by the mayor (<a href="/name/nm0001254/">James Gandolfini</a>) who thanks him, informs him that the city will go to bat for him in the bribery investigation, and offers him a ride home in his car. Garber takes the train instead. In the final scene, he arrives home, a half-gallon of milk in his hand. The first drafts of the script faced the challenge of updating the novel with contemporary technology, including cellphones, GPS, laptops, thermal imaging, and a post-9/11 world in New York City. In December 2007, David Koepp, who adapted the novel for Scott and Washington said: I wrote many drafts to try and put it in the present day and keep all the great execution that was there from the first one. It's thirty years later so you have to take certain things into account. Hopefully we came up with a clever way to move it to the present. Koepp's drafts were meant to be "essentially familiar" to those who read the novel, preserving the "great hero vs. villain thing" of the original. Brian Helgeland, the only one receiving credit for the screenplay, took the script in a different direction, making the remake more like the 1974 film than the novel and,Helgeland put it, making it about "two guys who weren't necessarily all that different from each other." Whereas the novel is told from more than 30 perspectives, keeping readers off balance because it is unknown which characters the writer might suddenly discard, the two films focus on the lead hijacker and the Metropolitan Transportation Authority employee with whom he communicates by phone. The new version sharpens that focus until it's almost exclusively a duel between disgraced MTA dispatcher Walter Garber and manic gunman Ryder.<br/><br/>In the book and original film, Ryder is "cold-blooded and calculating", but in the 2009 film he is a "loose cannon willing to kill innocents, not out of necessity, but out of spite." Also Ryder, in the original film and book, is portrayeda normal looking businessman, while in the 2009 film he looks like he has adopted prison life, wearing very visible prison related tattoos and very laid back modern style of a biker. In the 1974 film, the main character is named Zachary Garber and is a lieutenant in the Transit Authority police; in the 2009 film, the main character is named Walter Garber and worksa subway train dispatcher. Ryder asks for $10 million dollars instead of the $1 millionin the original film and book and $5 million in the made-for TV movie. Ryder does not use the "Mr. Blue" nicknamethe original film does; it is implied that Ryder is a nickname.
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