Synopsis
We are going to kill one passenger a minute until New York City pays us 1 million dollars.
In New York, armed men hijack a subway car and demand a ransom for the passengers. Even if it's paid, how could they get away?
The Taking of Pelham One Two Three
1974 Directed by Joseph Sargent
Cast
Walter Matthau Robert Shaw Martin Balsam Hector Elizondo Earl Hindman James Broderick Dick O'Neill Lee Wallace Tom Pedi Beatrice Winde Jerry Stiller Nathan George Rudy Bond Kenneth McMillan Doris Roberts Julius Harris Cynthia Belgrave Anna Berger Gary Bolling Carol Cole Alex Colon Joe Fields Mari Gorman Michael Gorrin Thomas La Fleur Maria Landa Louise Larabee George Lee Miles Carolyn Nelson Show All…
Director
Additional Directing
Producers
Writer
Original Writer
Casting
Editors
Cinematography
Additional Photography
Art Direction
Set Decoration
Stunts
Rick Seaman Carey Loftin Paul Nuckles Harry Madsen Joie Chitwood Jr. Daniel Dod Tim Chitwood Tim Heck Bill Barber
Composer
Sound
Costume Design
Makeup
Studios
Country
Language
Alternative Titles
Pelham, un, dos, tres, Pelham 1.2.3., O Seqüestro do Metrô, The Mastermind, Underground Hi-jack, Il colpo della metropolitana - Un ostaggio al minuto
Genres
Themes
High speed and special ops Crime, drugs and gangsters Thrillers and murder mysteries robbery, criminal, crime, heist or cops action, explosives, exciting, action-packed or villain car, action, cars, adrenaline or driving violence, action, guns, cops or killing mystery, murder, detective, murderer or clues Show All…
Popular reviews
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Astounding. A truly smart, thrilling movie that feels imbued with such a modern blockbuster energy. The distinct personalities feel so full and bounce off each other so well I almost wish it was longer- Shaw’s detailed, uncompromising villain against Matthau’s annoyed, almost bumbling transit worker is such a good pairing, made even better with each having psychopath associates (Mr. Blue with Mr. Grey, Garber with Frank) who each threaten to derail (pun not intended but my best alternative was “hijack,” so) their respective partners’ goals. It’s wild how they manage to keep the humor afloat with such a tension-rich premise without sacrificing that tension! They let all the humor stay above ground while having the constant threat of death feel…
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A cinematic tribute to the sweaty, bellowing oafs who make up New York City's civil service and government. Yes, they may be bigoted, bumbling, corrupt, and uncouth, but when push comes to shove, they care about this city and its people, because that's New York baby! #1.
Highlights of NYC leadership in crisis includes: Walter Matthau calling the directors of the Toyko subway system "dummies" and "monkeys" to their faces, a big fat Italian MTA supervisor saying he'll quit if he can't curse just because they "hired a few broads", and another MTA administrator saying of the 17 hostages being held in a subway car, "Screw the passengers! What do they expect for 35 cents? To live for ever?"
One…
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Forty-five years later still a perfect examination of how the NYC subway is a bad and miserable place
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It’s my birthday today, and I’m 33!
That means only one thing…BRING IT IN, GUYS!!!
*four middle aged men dressed as cartoon perverts covertly enter the Pelham 123 train and take it ransom, killing one passenger a minute until New York City pays them one million dollars for a HUGE party*
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God Matthau. God Shaw. God Balsam. God Elizondo. God Jerry Stiller. God Earl "Wilson from Home Improvement" Hindman. God Tony "Woody Allen's friend from Annie Hall" Roberts. God Lee "he also played the mayor in the 1989 Batman" Wallace.
I love how this movie gives us the absolute bare minimum of necessary information about every character, because each character is just one cog in a huge machine. A movie in which everyone and everything is ugly and cranky. Incredible how the Tony Scott remake does the opposite of literally everything that's great about this.
Gesundheit.
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"Even great men have to pee."
Yes, even Walter Matthau.
The Taking Of Pelham One Two Three is a film that had the misfortune of being a thriller made in the 1970s. What this meant was that instead of getting the absolute widespread plaudits, awards and huge box office that it quite obviously deserves, it ended up bubbling under a fair amount of the massive numbers of other similar films made in the decade.
It's not the fault of the film or anyone involved - it just happens like that sometimes. There is no doubt in my mind, though, that this is not only every bit as deserving as other more iconic films from the decade such as The French…
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The difference between a film being racist and a character being racist is clearly illustrated in this film, as it does both.
There's a moment early on when the colorful misters are hijacking the subway train. One of them calls a passenger a racial slur. The guy who does this is a brutal criminal who has just hijacked a subway car full of innocent people and threatened to kill them. His use of a racial slur is not endorsed by the writing, characterization, plot, or film overall.
The Japanese men getting a tour of the subway offices, on the other hand, are depicted stereotypically. They are treated poorly by grumpy white men for laughs. There's a mild punchline where it's…
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