Friday, June 19, 2009

The Taking of Pelham 123 (2009)




Tony Scott's corybantic, incendiary approbation of rampant nimiety, The Taking of Pelham 123, is at odds with itself and not only because it purports to be, in the words of its TV-ad-cum-action movie conductor, a “re-imagining” of the 1974 Walter Matthau-starring crime drama. Scott's movie is another familiarly skin-deep excursion into human-inspired chaos: a theme-park ride rather than a tense thriller—a feigned supercharged, restless roller coaster, but in actuality one prolonged exercise in cinematic onanism. Tony Scott is in many ways more frustrating than his brother Ridley; the latter lacks an even inchoate panorama of ethnological comprehension, fumbling about in interviews with nonsensical remarks like morally equating the murderous drug kingpin and outstandingly clean policeman who share the stage of American Gangster. Tony—and this is crucial—is by contrast the aspiring painter who lacks the prerequisite patience and poise to fulfill the promise of the canvas. There is, at least, an urgency of vision to Tony's work, and that nearly satisfies, the way an undercooked brownie or refrigerated slice of cheesecake stave off hunger. The nutrients are lacking, and the fear of eating too much of that impels the hand to reach for the fish and vegetables.

There are moments—shots, actually—which taunt the viewer with the periodic flash of fleeting perspicacity. These, alas, are all too little, too insignificant to finally matter. In the hands of the hyper-kinetic, ridiculously fast-cutting Scott, these worthwhile amendments to the portrait are rendered nearly meaningless. Scott's 2004 revenge action thriller Man on Fire occasionally touched upon the spiritual component which should underlay any such saga. As Denzel Washington's violent American almost literally raises hell in Mexico to save a little girl played by Dakota Fanning, Scott sparsely injects shots of Washington's character slowly, irrevocably drowning in an all-consuming pool of water. It is a startling image—and perhaps the only one which remains over five years after seeing that film. The incongruity of the physical is only an infinitesimally-sized component to the image's power: the deeper congruity of Man on Fire's solely resonant theme is what renders the ocular intriguingly impressive. Scott wants to make an occasional comment on his characters—but the shallowness of the enterprise (for which he is chiefly culpable through his mind-numbing visual techniques, though he does tend to work with either uneven or abominable screenplays) undoes him. Almost humorously, Scott pours only more fuel to the fire of his pictures' corroding emptiness, until whatever dramatic purpose was originally afoot has been replaced by Scott's incessant need to call attention to himself. For every sequence which may actually call for whirling, disorienting editing flourishes—such as Brad Pitt's wooing of a complete stranger in mere seconds to allow his boss (Robert Redford) to evaluate him in Spy Game—there are an unknown number which are given the treatment regardless of genuine need.

The Taking of Pelham 123 in Scott's hands features some insightful visual cues, but they are buried under repetitious waves of excessively busy camera movements—often ostensibly manufactured from tying a diminutive camera to the tail of a kitten, human head or hummingbird depending on Scott's whims—as well as needlessly ostentatious lighting, a droning soundtrack and bursts of laughable dialogue. Many routine and static camera pans highlight Denzel Washington's subway command center, which creates the affect of making over half of the film look and feel like a submarine thriller. (J.J. Abrams utilized a similar technique with Star Trek, albeit with greater discipline, and, since that was a naval war film, it worked. That, however, is for a future review.) The entirety of the film almost crushes the few moments of visual wit to be gleaned from the picture, but those few moments are worth detailing.
John Travolta's subway hijacker, “Ryder,” is a demented, loathsome individual who inveighs against the political corruption of America's largest city. Ryder lets Washington's Garber know that he is a Catholic man, and he admonishes Garber for seeing the hostages as innocent—Ryder's Catholicism informs him that no one of this earth is truly innocent. Scott frames Travolta's countenance through the back panel window of the subway, making the small compartment appear like a confessional. This is wholly appropriate considering this is where Ryder gradually, and most reluctantly, begins to confess his sins to the listening Garber. The Taking of Pelham 123 is briefly made into a richly textured ecclesiastical battle between the fallen Catholic and the modern staple of public service, the practical do-gooder. That has almost nothing to do with Brian Helgeland's fundamentally flawed screenplay—which almost always takes natural conversations and quickly makes them yelling matches, in direct, transparent contrast to the icily attenuated battle of wits between Matthau and Robert Shaw from the original film—and almost everything to do with Scott's temporarily arresting motif coupled with the best portion of Travolta's performance, in which he suggests unmitigated self-loathing and black nihilism.

Scott, however, cannot wait to get to the scenes of mayhem; an impertinent, compendious system of title cards flashes before the viewer nearly like electronically-constituted destinations at a terminal, informing of just how much more time exists for the city to abide by Ryder's deadline. Whether it is a high-concept action blockbuster or the latest Austrian art-house cine, too many filmmakers place process over the quintessential core of their films. In the case of supposed artsy “hyperlink” films, too many filmmakers strain to make the construct matter in the richness of irony and little else, and that may be due to today's excessive devotion to irony for irony's sake. With The Taking of Pelham 123, Scott misses the forest for the trees. His interpretation is predictably noise, noise, noise, all becoming faint—sound and fury, signifying nothing.

Tobias A. Schliessler's almost literally nauseating lighting schema tells the tale; like a Spike Lee film, Scott's picture accentuates the horridness of urban life in New York City. Yet while Lee's pictures personally transfer the worst and best elemental matters of the complicated social organism he dissects, Scott's take is muted by sheer exploitation. This is the filmmaker who, in Man on Fire, made Mexico City look like the eighth circle of hell, only to attach one last title card to thank the city, calling it a “special place.” The milieu may differ but New York City is given a shockingly similar faux-medicinal regimen in The Taking of Pelham 123. Throughout the messy narrative, the city is besmirched and ridiculed, only to be held up by the final moments as a kind of insuperable but benign beacon of clout and culture. The pairing of a taxi cab ad and the mayor played by James Gandolfini (the deliciousness of Tony Soprano moving next door to New York City and becoming mayor all too obvious) sticking up for public servant Garber in the final reel leaves a bitter aftertaste of cheap manipulation to ensure that no unsafe dramatic destination is remotely touched.

And how do the performers fare? The perfection of Matthau as the lanky, plain and unlikely hero has been replaced by utter artifice. The connective tissue bridging the fictive and actual worlds in 1974 brightened Joseph Sargent's solid thriller. In the wake of Vietnam and Watergate, Matthau's public servant was a bold stand-in for the paradoxes which animated American life. When meeting a hotshot police inspector, Matthau's Garber is taken aback because the man is black. Matthau's Garber was imperfect and crude; he scoffs at Japanese men and finds them to be a waste of his time. Matthau's close physical approximation of Richard Nixon subconsciously seals the deal: an evidently inadvertent collision between Sargent's finespun world and that of the pained reality of 1974 creates a lasting and worthy meta-comment. Washington, who seems to have mortgaged a portion of his soul to Scott, by contrast, is a poor reflector; adding a paunch to his midsection with loose-fitting pants always threatening to slide downward is insufficient in its meager conviction. When Washington spills a liquid all over himself, the scene screeches and squeals under the strain imposed by Helgeland's cliched game plan. Washington himself seems in on the joke, as is the entire audience: look, it's Denzel, playing this role. The man is too much of a thespian, crying at just the right moment, frowning with determination at his imperious boss, to be taken seriously here. Travolta dials in another villain: he at least is having fun, but aside from a presumptuousness which is intermittently endearing in that twisted way that makes everyone wish they were so crazed, he brings little to the picture that piquantly stings. Robert Shaw's creation surpassed such pedantic movie thuggery.

Scott's Pelham 123 arrives in the aftermath of more national trauma, war and debilitation of the figure of public service, just as Sargent's did. The differences, however, are noteworthy. Sargent's film sought to deeply examine societal stratas, class and racial tensions—without resorting to absurdly over-the-top maneuvering such as having the villain confirm that an Irishman is Irish and an Italian is Italian as in Scott's picture—through the prism of overqualified criminals against public servants working inside a corrupt system. Scott and Helgeland's public servant is himself corrupt, so Pelham, 2009's message seems to be, what goes around is money, what comes around is payback. That, and something that everyone should follow right about now: invest in gold.

74 comments:

Kevin J. Olson said...

There is, at least, an urgency of vision to Tony's work, and that nearly satisfies, the way an undercooked brownie or refrigerated slice of cheesecake stave off hunger. The nutrients are lacking, and the fear of eating too much of that impels the hand to reach for the fish and vegetables.

I love that! I have a strange affinity for Scott's work, but his recent films Deja-Vu and Pelham look pretty "blah".

I have to say though, I gave myself over to the idiocy and non-stop drubbing my senses took in Man on Fire and Domino and enjoyed myself during those films (the latter more for my...ahem...appreciation of Keira Knightly).

Your review solidifies one thing for me: I'll be seeing this on DVD.

I wish Scott could get back to making fun movies like what he was doing earlier this decade or films like True Romance. And you know, I think you're right about the different kinds of problems people have with Tony and his brother...I actually prefer Tony recently because he doesn't seem as pompous as Ridley...who almost always believes he's making an important movie.

This was a great, fun read.

Alexander Coleman said...

Thank you for the nothing-less-than fantastic comment, Kevin. And thank you most truly for the kind words.

Yes, Tony Scott was dabbling with some interesting concepts for a while there: Spy Game, Man on Fire and Domino. Since then, however, he's moved away from the "uneven" and into the "abominable" if I can be so forward as to quote myself.

Not that I particularly liked the results of those aforementioned films much more than his last few outings, but they did provide a greater opportunity for him to stretch his wings, to allow another overused cliche to rear its head.

This is so accurate and right to the point I must quote it: "... different kinds of problems people have with Tony and his brother...I actually prefer Tony recently because he doesn't seem as pompous as Ridley...who almost always believes he's making an important movie."

Precisely. Tony seems to know that his films are distractions, and he sometimes brings a vivacity of atmosphere and aesthetic to those distractions. Ridley's films have become almost wholly smothered underneath the crushing weight of their own unearned significance.

Thanks again, Kevin. I'll nevertheless be interested in seeing what you think after checking this out on DVD.

Sam Juliano said...

Although I always comment on films I haven't seen with as much interest as is i have seen them, I will hold off on this one for this reason: I am seeing the film at 12:00 noon later today (Saturday). I will come your apparently exhaustive review with a btter awareness. So, I will be back here soon.

Alexander Coleman said...

Okay, Sam; I eagerly await your return.

Sam Juliano said...

I just returned from an earlier start of this film and a second sneal-in of another commercial title, and while I am not typically enamored of these kinds of films, I thought PELHAM was passable entertainment for what it was. My three sons ages 12,10 and 7 attended with me while my wife and two daughters opted to watch THE PROPOSITION across the hall in our local multiplex.
We got the usual shtick from both John Travolta and Denzel Washington, and the film shamelessly brought in that emotional hook with Travolta forcing Washington to confess to bribery, and then the inevitable "meeting" of the two and the elaborate chase, ending with the final shootout. And the City of New york was brought in as caretakers for "doing the right thing!" Ha! Yet, I'll admit it was a fun piece which made the best use out of the Travolta/Washington talks and ultimatums, and Mr. Scott (whose name will never be mistaken for Orson Welles) does a commendable "genre" job in flash editing, time tags, freeze frames and motion. It certainly qualifies as a "guilty pleasure." It is NOT the equal of the 1974 film remotely, although that Walter Matthau starrer is no classic either, just a competant and engaging early 70's cinematic potboiler. But that version used humor far more effectively.

As far as your review goes, yes Tony is far more "frustrating" than Ridley, but neither is of the first-class. Even that "deeper congruity" you speak of in MAN ON FIRE rings hollow for me.

I agree with you that the message of "what goes around comes around" is prevalent here, and I enjoyed your discussion of Catholicism, the lame and unconvincing moral code than underlines this action thriller. Where I disagree with you is in the use of pyrotechnics. For me that aspect worked most effectively.

I may see fit to scrape a 3 of 5 for this, which is barely passing. Your review leaves no stone unturned, and it's typically first-rate, even in disdain.

Let's hope your upcoming review of STAR TREK is ultra-favorable as it's 95% rating at the review sites is no flute.

Alexander Coleman said...

Thank you very much for the fine collection of thoughts, Sam. You are as always quite unpredictable--I am charmed by your consideration of the film as a "guilty pleasure," of sorts. I agree that there are elements of a "guilty pleasure" to be sure, particularly as it relates to Travolta's character (this gives the idea of the film representing a "guilty pleasure" quite a different meaning!).

Nonetheless, it sounds like we are, perhaps not on the same page, but in the same chapter with this movie. The more I think about it, the less effective Washington is, and I still dislike how perspicuously Scott seemed to wish he were directing more of a "straight action movie" rather than the psychological thriller this film at its heart should be.

In any event, thank you again, Sam. Star Trek on the to-do list, but first I must finish up my review of Departures.

Sam Juliano said...

Alexander, I would give PELHAM a very mediocre 3 of 5 stars. That is pretty much on the same page with you. I have already forgotten the film as i now embark on a NYC double-feature of the new Woody Allen film and a clay animation film called $9.99.....I saw DEPARTURES last month, so I will definitely be visiting CCC tomorrow. Have a good evening, my good friend.

Alexander Coleman said...

Understood, Sam. Thank you for the clarification in any event! Have a great Father's Day weekend, my friend. Tomorrow should be quite the day for you at the Juliano household! :)

Moses Hernandez said...

Tremendous write up Alexander. You keep raising the bar and I love how you give every film the thorough Coleman's Corner treatment. Nobody does it like you.

Probing analysis and beautiful writing. But that is what we all expect from you!

I kinda liked Travolta at times like you say because he seemed to enjoy himself. Denzel was all wrong for his part tho.

Film-Book dot Com said...

When I finish writing and posting my review for "The Taking of Pelham 123 (2009)", I will read through yours.

I just read your first sentence. Christ you are still on point.

Alexander Coleman said...

Thank you, Film Book Dot Com. I'll be sure to look at yours after you've finished writing it.

Alexander Coleman said...

And thank you for your comments as well, Moses. I concur with you that Denzel Washington was "all wrong for his part," and I thank you for your kind statements, too.

Film-Book dot Com said...

“Tony Scott is in many ways more frustrating than his brother Ridley; the latter lacks an even inchoate panorama of ethnological comprehension, fumbling about in interviews with nonsensical remarks like morally equating the murderous drug kingpin and outstandingly clean policeman who share the stage of American Gangster. Tony—and this is crucial—is by contrast the aspiring painter who lacks the prerequisite patience and poise to fulfill the promise of the canvas. There is, at least, an urgency of vision to Tony's work, and that nearly satisfies, the way an undercooked brownie or refrigerated slice of cheesecake stave off hunger. The nutrients are lacking, and the fear of eating too much of that impels the hand to reach for the fish and vegetables.”
Your comment on Ridley is humorous. I liked what you said about Tony though I don not know if it is accurate or not since I have not deeply examined his work. Their does seem to be an urgency to certain sections of his films. Good description of his artistic prowess (lack of) though. It’s even better for me because I am reading about Johannes Vermeer in The Girl with the Pearl Earring.

“As Denzel Washington's violent American almost literally raises hell in Mexico to save a little girl played by Dakota Fanning, Scott sparsely injects shots of Washington's character slowly, irrevocably drowning in an all-consuming pool of water. It is a startling image—and perhaps the only one which remains over five years after seeing that film.”

I always thought that was Creasy getting into a pool trying to connect with Peta in some after she was taken and he was shot. I never thought of it as a dream because he was bleeding from his wounds from the gun battle. Interesting interpretation. By the way, some of the dialogue remains as well: “A last wish.” “I wish…you had…more time.” I hated that tacked on last scene where The Voice gets killed though. Hollywood poo-doo.

“(J.J. Abrams utilized a similar technique with Star Trek, albeit with greater discipline, and, since that was a naval war film, it worked. That, however, is for a future review.)”
Looking forward to it. I really tore into the film. Mindless sci-fi does not really do it for me anymore. I still have not seen the new Transformers yet.

“Ryder lets Washington's Garber know that he is a Catholic man, and he admonishes Garber for seeing the hostages as innocent—Ryder's Catholicism informs him that no one of this earth is truly innocent. Scott frames Travolta's countenance through the back panel window of the subway, making the small compartment appear like a confessional. This is wholly appropriate considering this is where Ryder gradually, and most reluctantly, begins to confess his sins to the listening Garber.”
I missed this. Well done. Garber mentioning the cab as a confessional, I still never saw it as such. I guess I was too blinded by: “He’s got a sexy voice.”

“The pairing of a taxi cab ad and the mayor played by James Gandolfini (the deliciousness of Tony Soprano moving next door to New York City and becoming mayor all too obvious) sticking up for public servant Garber in the final reel leaves a bitter aftertaste of cheap manipulation to ensure that no unsafe dramatic destination is remotely touched.”

I don’t know about that. Of course the mayor would be grateful for what Garber did and it is within his power to issue a pardon or to talk to the district attorney to make sure Garber got a slap on the wrist for his felony.

christiandivine said...

Welcome back!

"corybantic, incendiary approbation of rampant nimiety"

With a vengeance!

I have no idea what "corybantic" means but I'm going to start using it shamelessly.

As for the film, it just seems...unneccessary on all levels.

Alexander Coleman said...

Film-Book dot com, thank you for those excellent thoughts. You're right that there is a basic logic to the mayor giving the protagonist a pardon, but between that and other unsubtle "New York is great!" messages of the film at that point, I became greatly annoyed by the posturing. Nevertheless, your point stands.

An interesting interpretation of Man on Fire there as well, Film Book!

Interesting point about the dialogue remaining the same.

Christian, thank you for the kind words! Corybantic is certainly a word that should be used with greater regularity. I knew you were not looking forward to this film and I calculated that you would find it wanting, as did I. Thank you again.

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I wish Scott could get back to making fun movies like what he was doing earlier this decade or films like True Romance. And you know, I think you're right about the different kinds of problems people have with Tony and his brother...I actually prefer Tony recently because he doesn't seem as pompous as Ridley...who almost always believes he's making an important movie.
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Uno said...

One minute seemed a century, but his heart could no longer beat ... life is seemingly nothing to linger. He smiled and was amazed at what you can expect, the wheel of fate began the first cycle ... to a man with a heart buried deep in the rotation grim.
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Uno said...

From the door, a middle-aged man entered. He may look sick, white water re-lem with sharp eyes scheming. It is Suigatta Orochimaru, Lei currency equivalent of the National Dynasty
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Uno said...

When people struggle to get rid of something not right now it has sunk into it but no way to save. Goddess of destiny which is the human who likes jokes.
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Uno said...

Seems in stark contrast with the suffering of the street, palace prefect bright lights and wine taste sweet meat rises. Kurank Army chose this place as a headquarters celebration. These statements
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Uno said...

Orochimaru did not notice that, from the roof of the main hall, a shadowy blue cloak quietly observe all developments, including the spectacular escape of
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Hals said...

I found this film exceedingly cliched and a big-time bore. I love sci-fi (its one of my favorite genres as it is yours, and over the years I've celebrated THE FOUNTAIN, A.I., and GATTACA among others, not to mention the three you cite, 2001, THE MAN WHO FELL TO EARTH and SOLARIS) but this fiasco never came together. It was cryptic and muddled, and only Clint Mansell's exquisite score survived the debacle.

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Anonymous said...

great , try out new website about LOL , aim on Penta Kill Band on LOL , inclule Sona , Yorick , Olaf , Karthus etc...
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From Pentakill Band - Prelude in C minor
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