Once out of the credit sequence, Dog Day Afternoon never again uses music. It doesn’t need to. This true story is fully absorbing and music would only serve as a distraction from one of Al Pacino’s (if not Hollywood’s) greatest performances.

A small story turned into a media heyday, Dog Day Afternoon features a wide ranging narrative, told from the side of Sonny inside a bank robbery gone wrong. The robbery turns into a hostage situation, the media fights for the story, and the ever-growing crowd becomes supportive to Sonny’s cause.

The script does an amazing job of bringing comedy to the story, as Sonny bumbles and botches much of the plan. It never feels out of place or forced, just a natural extension of the character. Pacino runs through a marathon of emotions, as does the audience. Fear, anger, hostility, rebellion, and fine-lined good nature are portrayed flawlessly.

When the story takes its bizarre turn as the audience learns of Sonny’s reasoning behind the robbery, Chris Sarandon pulls off a role made up of almost all improv during the film’s heaviest story moment. As Sonny makes phone calls prior to what he believes will be his escape, captivating acting talent shows through on both sides of the conversation, and Sarandon is incredible.

Sidney Lumet’s direction is relatively static, and adds to the atmosphere. Shots of the FBI standing silent as they watch the situation unfold are an eerie foreshadowing of the events to follow. It’s engrossing, and it’s what helps Dog Day stand apart from nearly every crime drama to follow.

This is undoubtedly a classic film, and a unique look at crime that in a way that had never been done prior. It’s shifting tone, gripping performances, and wide array of situations even when confined to a single building make Dog Day Afternoon a necessary addition to any film library.

Shot in 1975, Dog Day looks like it was in 2005. This is a marvelous transfer, filled with brilliant color, stunning clarity, and loads of detail. Flesh tones will occasionally seem to linger deep into red instead of more natural shades, though this is a minor complaint. Grain will also bother some, though this is well above par as well.

There’s not much to this 5.1 presentation. Bass is non-existent, and even scenes in the crowded streets never move from the center channel. The final shots of plane approaching have nothing to offer either. While expectations are low, it doesn’t feel as if anything was done to the films audio, especially in comparison with the video.

Extras are brought over from the DVD release from 2006. The extensive making of is split into four sections. Story (12 minutes), Casting Controversy (13 minutes), Recreating the Facts (21 minutes), and After the Filming (11 minutes) cover everything you’ll need to know about the shoot, including how they ensured the actor’s breath didn’t show on camera since they shot in the winter months. Also interesting is the reaction to the love triangle at center of the film, something well ahead of its time.