Back in 1974, the big screen audience was introduced to the world of Lt. Garber and Blue. It was a world of danger, death, and quick timing. Every minute that passed had lives hanging in the balance, keeping audiences on the edge of their seats. The movie was called The Taking of Pelham One Two Three and it starred Walter Matthau as the everyman and Robert Shaw as the terrorist (is that the right word? he does terrorize folks). I have not seen that movie. I know, that is a shocking revelation, but believe me when I say there are a ton of movies out there I have not seen yet.
This new take on the John Godey source novel seems to use a slightly different approach than the original. "But how can you say that if you have not seen the original?" you may say. Well, it is pretty easy to see just looking at the names involved. In the place of Walter Matthau you have Denzel Washington, thus changing the complete dynamic of the everyman. Denzel has an inherent intelligence around him that comes to all of his roles, this makes him a little difficult to identify with as the everyman, unlike Walter Matthau who has that aura of a guy you could just hang around with, thus easier to relate to. Then you have John Travolta slipping into the Robert Shaw role. Now, I cannot place Shaw at all, but the idea of Travolta as a bad ass is a little comical. Finally, slip Tony Scott into Joseph Sargent's director's chair and you have an intrinsically different experience. Those two directors are, shall we say, just a little bit different.
The film opens with an annoying opening credit sequence that is reminiscent of one of those anti-piracy ads you see on DVDs. It gives the impression of a student film with its overuse of camera effects like quick cuts and jittery slow motion. Combine that with an opening score that severely overuses the sound of a train horn. Seriously, how many times can you listen to that whistle blow? I cannot say these opening moments were terribly inspiring.
What followed those credits was 100 minutes of mediocrity edited in the cliche MTV-style of quick cuts, swish pans, and in-your-face flash for the ADD-addled youth of the nation. Yes, it does tone down somewhat, but the movie still feels as if it has been edited and processed to within an inch of its life.
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