The Taking of Pelham One Two Three (1974)

Overview

Set entirely within and around the labyrinthine subway system of 1970s New York City, The Taking of Pelham One Two Three is a high-concept heist thriller that delivers both pulse-pounding suspense and a wry, streetwise sense of humour.

Directed by Joseph Sargent, the film’s straightforward style conceals a razor-sharp script, complex logistics, and an unusually grounded sensibility. With standout performances from Walter Matthau and Robert Shaw, and a uniquely cynical urban atmosphere, it’s widely regarded as a classic of the genre — and a blueprint for countless hostage thrillers that followed.

Plot Summary (Spoiler-Free)

At 1:23 PM, a New York City subway train — code-named “Pelham One Two Three” — is hijacked between stations by four armed men, each using a color-coded alias:

Mr. Blue (Robert Shaw): The calm, ruthless British leader.

Mr. Green (Martin Balsam): A disgruntled ex-motorman with intimate MTA knowledge.

Mr. Grey (Hector Elizondo): The volatile wildcard.

Mr. Brown (Earl Hindman): The quiet muscle.

Their demand? $1 million in ransom — to be delivered within an hour — or one hostage per minute will be executed.

The crisis falls to Lt. Zachary Garber (Walter Matthau), a sardonic and world-weary MTA Transit Police officer who must navigate bureaucracy, city politics, and the ticking clock to save the passengers and outwit the hijackers.

Themes and Context

Urban Anxiety in 1970s NYC

The film captures a city on the brink — loud, crowded, mismanaged, and boiling with tension. New York in the ‘70s was plagued by crime, financial instability, and a loss of public trust in institutions. The subway, long symbolic of the city’s chaos and energy, becomes the perfect setting for a siege.

Bureaucracy vs. Crime

Much of the film’s tension arises not just from the hijacking, but from bureaucratic fumbling: city officials bicker over procedures, the mayor (played comically by Lee Wallace) hesitates, and miscommunication hampers efforts. It's a thriller grounded in procedural reality — one where heroism is less about bravado and more about paperwork and patience.

Professionalism vs. Chaos

The hijackers are professional, calm, and calculated — except for Mr. Grey — while the city’s response team is chaotic, overworked, and under-equipped. This contrast creates both tension and comedy, highlighting the brittle balance of urban life.

Direction and Cinematography

Joseph Sargent directs with an efficient, no-frills style that mirrors the film’s subject matter. His background in television brings a crisp pacing and emphasis on character-driven moments, without sacrificing the ticking-clock suspense.

The cinematography by Owen Roizman (The French Connection, The Exorcist) is gritty and unglamorous. The camera captures the claustrophobia of subway tunnels, the grime of New York’s infrastructure, and the neon-lit despair of the control rooms. Real locations and extras lend authenticity and immersion.

Screenplay and Dialogue

Adapted by Peter Stone from John Godey’s 1973 novel, the script is filled with sharp, funny, and often cynical dialogue, especially from Matthau’s character. The humour is dry and human — a necessary release valve in a film driven by suspense.

The structure is tight and economically paced, moving fluidly between the hijackers in the tunnel, the control room chaos, and City Hall. Exposition is embedded naturally within conversations, and the story never loses focus.

Performances

Walter Matthau as Lt. Zachary Garber

Known primarily for comedies, Matthau delivers a nuanced performance here, blending deadpan humour with rising exasperation and subtle heroism. Garber isn’t an action hero; he’s a competent, cynical civil servant trying to do the right thing in a city that rarely cooperates.

Matthau’s charm, even in the film’s tensest moments, anchors the story and gives the audience a relatable surrogate.

Robert Shaw as Mr. Blue

Shaw (fresh off The Sting and soon to be famous as Quint in Jaws) is magnetic. He exudes icy control and menace, creating a villain who is brilliant, detached, and increasingly volatile as things unravel. His clipped British formality adds a chilling contrast to the otherwise New York-flavoured world.

Martin Balsam as Mr. Green

Balsam gives Mr. Green a touch of humanity and pathos — a man driven to crime by resentment and disillusionment with the system. His performance becomes key in the film’s memorable final twist.

Hector Elizondo as Mr. Grey

Violent, unpredictable, and crude, Elizondo plays the most volatile of the crew. He adds an edge of danger that contrasts with Shaw’s calm, and his recklessness puts the whole plan in jeopardy — adding internal tension to the gang dynamic.

Jerry Stiller as Rico Patrone

Stiller, playing Garber’s sidekick, brings dry humour and warmth to the otherwise tense control room scenes. His sarcastic remarks and resigned attitude echo the audience’s own amusement and anxiety.

Music and Sound Design

The score by David Shire is one of the most iconic elements of the film. The opening credits feature a jazzy, funk-infused main theme with a dissonant, pounding beat — matching the rhythm of the subway and the tension of the hijacking. The music is lean but effective, helping to punctuate the film’s transitions and urgency.

Sound design is equally important — the screech of trains, static-ridden radios, and tunnel echoes help build a visceral sense of place.

Influence and Legacy

The Taking of Pelham One Two Three was a major inspiration for later hostage thrillers, including Die Hard, Speed, and Inside Man. Its formula — criminals with code names, ticking clock, reluctant hero — became a template.

The film also inspired two remakes: a 1998 TV version starring Edward James Olmos and Vincent D’Onofrio, and a 2009 big-budget adaptation directed by Tony Scott, starring Denzel Washington and John Travolta. Neither matched the original's charm or tension.

Its tone — blending humour, grit, and suspense — helped define the New York crime thriller aesthetic.

Conclusion

The Taking of Pelham One Two Three (1974) is a brilliantly executed thriller that still holds up decades later. With its airtight plotting, sardonic wit, and atmospheric depiction of a chaotic New York, it remains a masterclass in low-key suspense filmmaking. It lacks the bombast of modern action films, but its tension, character work, and realism make it far more rewarding.

A cult classic turned genre touchstone, it proves that the most effective thrillers don’t need explosions — just smart characters, a strong concept, and a ticking clock.

A stylish, sharp-witted urban thriller that helped define the modern hostage film.