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The set-up is established in the opening minutes, and the conflict is on a roll, staying surprising and entertaining through to the closing scene. If this rings a bell to the cinephiles reading this, yes, this inspired Tarantino’s “Reservoir Dogs.” Brown.” It was screenwriter Peter Stone who gave the hijackers their color coded names. Grey” (a perfectly sleazy Hector Elizondo), and powerful, laconic brute “Mr. Green” who has a telltale cold (a memorable Martin Balsam), violent ex-Mafia “Mr. Blue” (played by a coldly menacing Robert Shaw), a former mercenary, and consist of disgruntled fired motorman “Mr. A normal day on the subway is disrupted by the four men armed with submachine guns who detach the lead car and drive it into a tunnel with its passengers as hostages.
#MAUREEN MAGOVERN/TITANIC THEME SONG TV#
The film is based on a thriller novel of the same name by Morton Freedgood which became a bestseller and spawned three adaptations including a TV version in 1998 and a toothless remake starring Denzel Washington and John Travolta in 2009. When a New York City Subway train leaves to start a run, it is given a call sign based upon the time it left and where in this case, Pelham Bay Park station at 1:23pm. The movie’s title is derived from the train’s radio call sign. “They’re gonna get away by asking every man, woman and child in New York City to close their eyes and count to a hundred.” Garber (played with gruff shaggy dog command by Walter Matthau).
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It is preposterous, a fact that is acknowledged by Lt. If they don’t get what they want they will kill off one passenger every minute past the deadline. Wait, what was that? Yes, that’s the plot! Hijackers have taken over a subway car and want one million dollars delivered in one hour. Lovett keep the constant action moving from the Transit Authority command center in Manhattan, the Police Department, the Mayor’s Office, numerous city streets and a stalled subway car holding 18 people being held hostage by four highly efficient mercenaries. Greenberg (Oscar winner for “The French Connection”) and Robert Q. It is used to create a sense of a chase, navigating between two or more scenes for example, one establishing a person running away, and another cut showing you what’s after her. Parallel editing is a technique whereby cutting occurs between two or more related actions occurring at the same time in two separate locations or different points in time. It was the first time (I was ten years old) that I recall being intrigued by the notion of parallel editing or cross-cutting. My mother took my brother and I to see “The Taking of Pelham One Two Three” in 1974 and what an exciting world this was. The decay, crime, counterculture and cultural upheaval all simmering in one place and represented in films was enticing to me. In Panama, as a young man I saw films like “Klute” (1971), “The French Connection” (1971), “Mean Streets” (1973), “Dog Day Afternoon” (1975), “Annie Hall” (1977) and “Saturday Night Fever” (1977) amongst others, that albeit gritty showed a cinematic view of a turbulent, vibrant, at times depraved yet still alluring metropolis. My love for New York came out of the movies. Could it be that in the context of all the nervous energy of Manhattan, I am indeed more zen by comparison? I’m much calmer, I sleep better and I act less neurotically. I’m quite a different person in the Big Apple.
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Because of business relating to the festival and my involvement on the board of my prep school, The Peddie School, I have to travel east a minimum of three times a year, sometimes more. One of the things I’ve missed the most since our imposed hibernation of the past year set in has been visiting New York City. “What’s wrong dude?! Ain’t you never seen a sunset?!“