Film Review: The Taking of Pelham 123 (2009)

Hollywood's penchant for revisiting its iconic films from the 1970s has often resulted in a slew of remakes that fail to capture the magic of their predecessors. This trend has, unfortunately, led to many classics being tarnished by association with forgettable 21st-century versions. Among these misguided attempts is the 2009 remake of The Taking of Pelham One Two Three, originally directed by Joseph Sargent in 1974. The original film is widely regarded as one of the most memorable and influential thrillers of its time, and to assert that Tony Scott's Taking of Pelham 123 did not live up to the original would be a gross understatement.

The film, like its predecessor, is based on Morton Freedgood's 1973 novel, which was initially published under the pseudonym "John Godey." The novel, apart from two feature films, has been adapted as a relatively obscure television film in 1998 featuring Vincent D’Onofrio and Edward James Olmos.

Set against the bustling backdrop of New York City, the plot unfolds when a mysterious man named Ryder (played by John Travolta) orchestrates a hijacking of a subway train. He demands a ransom of $10 million from the city’s authorities within an hour, threatening to execute passengers if his demands are not met. Walter Garber (played by Denzel Washington), an employee of the Metropolitan Transportation Authority and train dispatcher, finds himself in a race against time to save the hostages while assisting the police in identifying the hijackers. Ryder establishes a rapport with Garber and insists that he personally deliver the ransom, while Garber leverages his knowledge of the subway system to thwart Ryder’s plans.

The screenplay for this adaptation was penned by Brian Helgeland, an Oscar-winning writer known for L.A. Confidential. Despite his impressive credentials, Helgeland grapples with a significant conceptual flaw in this version. The premise of a small group of criminals hijacking a subway train and bringing an entire metropolis to its knees resonated powerfully in the context of 1970s America, marked by financial instability, social unrest, urban decay, and rampant crime. In contrast, post-9/11 New York City became an embodiment of a modern police state, making the film's premise less convincing.

Despite these shortcomings in writing and concept, some of the cast endeavours to deliver strong performances under challenging circumstances. Denzel Washington shines as Garber, relishing the opportunity to portray an ordinary middle-aged civil servant rather than an archetypal authority figure or charismatic hero. His character arc is compelling, even if it veers outside predictability as he transforms into an action hero towards the film’s conclusion.

In stark contrast is John Travolta’s portrayal of Ryder. His performance as an unhinged villain feels over-the-top and reminiscent of his roles in various poorly received films from recent years. This contrasts sharply with Robert Shaw's more subdued yet chillingly effective performance as the original counterpart in 1974's version. While Washington’s performance is nuanced and relatable, Travolta’s interpretation lacks depth and restraint.

A significant issue plaguing Taking of Pelham 123 is Tony Scott's direction. In an effort to distinguish his film from its predecessor—and any semblance of television adaptations—Scott opts for an epic scope marked by rapid editing and various MTV-style visual tricks. This approach often detracts from the narrative coherence and emotional weight of the story, leading to moments that feel disjointed and frenetic. Scott’s previous works have occasionally suffered from similar stylistic excesses; films like Domino have been criticized for becoming nearly unwatchable due to his self-indulgent techniques.

Despite some critical praise for Washington's performance, Taking of Pelham 123 ultimately fizzled at the box office, relegating it to the status of yet another soulless remake of a beloved 1970s classic.

RATING: 3/10 (+)

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