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.
In early afternoon, four armed men hijack a subway train in Manhattan. They stop on a slight incline, decoupling the first car to let the rest of the train coast back. Their leader is Ryder; he connects by phone with Walter Garber, the dispatcher watching that line. Garber is a supervisor temporarily demoted while being investigated for bribery. Ryder demands $10 million within an hour, or he'll start shooting hostages. He'll deal only with Garber. The mayor okays the payoff, the news of the hostage situation sends the stock market tumbling, and it's unclear what Ryder really wants or if Garber is part of the deal. Will hostages, kidnappers, and negotiators live through this?
I love the original in so many ways for so many reasons for which I will not review here. I had no intentions of ever bothering to watch the remake. I did of course out of mild curiosity and the other reason was that I was a guest at a friend&#39;s place and that was the movie of choice. I try to go into things with an open mind, open heart not withstanding. I tried very hard not to be biased but it didn&#39;t take long into the movie that my prejudiced had reached a boiling point. This movie was awful! Standing totally alone and without the benefit of the original, it was a very bad movie, for those who had never seen the original, even they would have said the movie was awful and that&#39;s the awful truth.<br/><br/>John Travolta and Denzel Washington should have both been taking onto the subway tracks of IRT 123 line and forced to electrocute themselves as late great Robert Shaw&#39;s character did in the original film. I was spitting mad which actually became pure delight for my friends. Who found my tirade more entertaining than the movie. Which isn&#39;t saying much.<br/><br/>Lastly, I love films, from time to time I consider myself a filmmaker having worked in and out of the industry as I still do. I can easily list some of my favorite films as proof I know a thing or two about good films. Catch-22, The Gradute Mike Nicholas, The Ninth Configuration William Blatty Jr, almost all Kubric&#39;s work as well as Woody Allen, Alien, Blade Runner Ridley Scott who should join Travolta and Washington on the tracks for that god awful &quot;Prometheus&quot; Rififi Jules Dassin, Delicatessen Marc Caro and Jean-Pierre Jeunet. There are countless more, I study ever subtle nuance of a film like some sort of mutant beast. I tried not to do that with this film but I couldn&#39;t control my inner rage and savage attack on this movie.<br/><br/>David Shire Score for the original alone was better than the entire remake of this version of The Taking Of Pelham 123…<br/><br/>Enough already!
Yes, my friends, I will go to see any Tony Scott film. I know ahead of time that it will not touch me in any way, merely providing me with colorful movement.<br/><br/>I know that the story will be irrelevant, and that the same slots will occur to be filled: the computer squeaks; the overhead map-location situating; the text on screen that tells us where we are; the in-story folks who monitor, usually in a room with display screens.<br/><br/>I know there will be excesses in the acting and chases. I know I will leave wondering how to replace the intellectual gap that has appeared in my life. But by golly, he makes competent films. They are useless, but they work. And I value things that work, if only because it affirms that the world is in good order and that when I make my own internal films, they will work as well.<br/><br/>I watched this and the original. It is amazing how much they differ. The original was built when technology still meant big things like trains. And in those days, one diverting script event was sufficient. You could hold the energy yourself without being told to and given aids. So it was something to see how the thing was reborn. Yes, you still have the runaway train and the connection between hijacker and dispatcher.<br/><br/>But here we have two nice complications. Denzel&#39;s character is a crook, and for once he does an understated job. And the diversion of the hijack? Instead of the diversion for the getaway, we have the ransom as irrelevant. Nice touch.<br/><br/>Ted&#39;s Evaluation – 2 of 3: Has some interesting elements.
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 &quot;123&quot; refers to the time that it leaves 1:23. The &quot;taking&quot; 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&#39;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. &quot;You&#39;re my goddamn hero,&quot; Ryder says as he 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&#39;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&#39;s drafts were meant to be &quot;essentially familiar&quot; to those who read the novel, preserving the &quot;great hero vs. villain thing&quot; 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, as Helgeland put it, making it about &quot;two guys who weren&#39;t necessarily all that different from each other.&quot; 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&#39;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 &quot;cold-blooded and calculating&quot;, but in the 2009 film he is a &quot;loose cannon willing to kill innocents, not out of necessity, but out of spite.&quot; Also Ryder, in the original film and book, is portrayed as a 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 works as a subway train dispatcher. Ryder asks for $10 million dollars instead of the $1 million as in the original film and book and $5 million in the made-for TV movie. Ryder does not use the &quot;Mr. Blue&quot; nickname as the original film does; it is implied that Ryder is a nickname.
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