Okay, I admit it. I’m biased when it comes to movies. In my opinion older is better. But I try to keep an open mind because, well, I like movies.

So I was looking forward to seeing The Taking of Pelham 123 with Denzel Washington and John Travolta last weekend.

This is the third remake of the John Godey novel (published in 1973) of the same name. For those who are interested, there is a 1998 made-for-TV version starring James Edward Olmos.

At the same time, I also rented the “original” 1974 version, The Taking of Pelham One Two Three, which I hadn’t seen in years, but remember as good. Damn good, as it turns out.

The premise of the story remains the same—an audacious group of 4 hijackers take control of a subway train (from Pelham Station at 1:23pm, hence the title) and demand a large sum of money in exchange for the passengers they now hold hostage. How they plan overcome the problem of the subway car’s dead-man’s switch and escape with the funds from a surrounded subway tunnel ratchets up an already suspenseful situation.

Similarities end there.

The screenplay for the 2009 version updates the technology—with one passenger having a laptop computer that offers an “insider” view of the villains. And director Tony Scott makes the most of on location filming and camera work that adds to the frenetic tension.

But do “cool effects” equal a cool film?

Unlike the 1974 film, the 2009 version carries a Restricted rating for “violence and pervasive language.” Quite frankly, the violence is about the same in both movies. The hijackers mean what they say and they prove it by shooting innocent people. That leaves pervasive language. The “F” word is rampant. Everyone uses it, making it an almost generic substitute for actual dialogue.

Is that cool? Not really.

Technology, special effects, and language usage aside, the two versions represent two different types of story telling, even though they essentially tell the same story.

The 1974 version is built on an ensemble of characters. The four hijackers—Robert Shaw, Martin Balsam, Hector Elizondo, and Earl Hindman have names (pseudonyms) and are given distinct personalities. Shaw’s character, for instance, calmly completes crossword puzzles in between issuing demands. What’s more, they aren’t a unified group—a large part of the tension in the film comes from the dissension between them. Likewise, while Walter Matthau’s character Lt. Zackary Garber of the New York Transit Police becomes the main negotiator, he faces dissension from members of his own team. Even the passengers are individuals who voice opinions.

The 2009 version, by contrast, is, essentially, a two-star vehicle with Washington and Travolta securely in the spotlight. Watch the official Trailer.

Even the story is reframed with Washington’s character Garber (called Walter, apparently a tribute to Matthau) under investigation for bribery. His growing rapport with the lead hijacker combined with the more elaborate back story exponentially increases his role. For instance, he delivers the money to the subway car, a “job” that were done by a two other characters in the 1974 film.

Likewise, lead hijacker, Ryder (Travolta) is given an extensive back story to explain his current goal—he wants $10 million (back in 1974 it was $1 million) and motivation (a former trader, he hopes to affect the stockmarket). The other hijackers are little more than gun-totting sidekicks and, with the exception of George and his girlfriend (who’s communicating to him via phone and laptop from the safety of her home), the passengers are merely warm bodies. 

The chemistry between Washington and Travolta is there—but I’m not convinced that is what this story should be about. And the final showdown between their characters lacked believability.

In the end, my bias is clear.

Give me Robert Shaw determining his own fate.

Give me that final, telltale sneeze.

Give me good old 1970’s urban paranoia any day.

Tags: Denzel Washington, Earl Hindman, Hector Elizondo, John Godey, John Travolta, Martin Balsam, Robert Shaw, Robie Madison, Ryder, The Taking of Pelham 123, The Taking of Pelham One Two Three, Walter Garber, Walter Matthau, Zackary Garber

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