The Taking Of Pelham 123 In Hindi Download
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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?
Armed men hijack a New York City subway train, holding the passengers hostage in return for a ransom, and turning an ordinary day's work for dispatcher Walter Garber into a face-off with the mastermind behind the crime.
WARNING: There are "spoilers" in this editorial piece! The way that this story was re-imagined by the filmmakers wasn't too bad. There are a few suspenseful scenes, a couple of humorous lines and maybe a single scene of true emotion that I could relate to. But what I found so annoying, unpleasant and offensive is the way the story was presented on the screen. The director, Tony Scott, has a glaringly serious problem, which his inability, or refusal, to film scenes in real-time. Watching The Taking of Pelham 123 is like watching a child playing around with a film-editing machine. Speed the film up. Slow it down. Speed it up. Slow it down. This is silly and intensely visually irritating. Brian Hegeland, the screenwriter, writes dialogue that is so filthy, nasty and foul, you'd think he has Turette's disease. And then there is that unfortunate and deeply, profoundly, and disturbingly offensive scene where a Black man sacrifices his life for a white woman and her little boy who are absolute strangers to him. There was absolutely no reason for that scene other than to make a point – and quite unnecessarily at that -- about how ruthless and murderous John Travolta's character was, a point which had already been made with more than sufficient brutality once before when he murdered the motorman. This kind of stereotypical, disposable use of Black bodies on movie screens has been going on since Hollywood was born, and it reflects a mean-spirited, contemptuous and callous disregard for Black life. I can't think of a single Black actor of any rank in Hollywood who has been able to avoid doing his Master's bidding in this way. From Sidney Poitier to Jim Brown to Denzel Washington, for some reason Hollywood won't, or is afraid to imagine a Black man giving his life to save a Black woman and/or child. Why is this so? Does it frighten the status quo to imagine the descendants of their former slaves ennobling themselves in such dramatically heroic ways?
I'd never seen the original version of this, so thankfully I had nothing to compare it to, which seems to be bringing this film down.
Easily the best thing about this film is the interaction between Washington and Travolta. Their performances are truly brilliant. Especially Travolta, who really creates some atmosphere of insanity with his instant, hugely effective switches between a calm conversation and threatening to blow someone's brains out. However the film can be marked down in the acting category, aside from the two front-men (and in some cases the Mayor, who provided some comedic relief) the rest of the performances were less than memorable.
The story is good, it's impressive how the entire film is set in two locations and yet the pace is still high throughout and it never seems to drag or get boring. The sounds helped the pace of the film a lot too, with quick drum and bass songs accompanying a high speed car/bike scene and the everyday rumble of trains passing by elsewhere to really create the feel of how this is occurring in an everyday scenario.
The dialogue is good, aside from the often pointless abundance of the 'f' word, and I think the characters are believable and are developed well, especially in Washington's case. One small problem that cost the film half a star for me was a very over the top shootout that occurs in the film, if you watch it you'll know what I mean, it just derailed the reality of the film for me slightly.
Overall though, a good thriller that should please most viewers, that's presuming you haven't seen the original, apparently.
Just plain silly.
Four armed men—Bashkim (Victor Gojcaj), Emri (Robert Vataj), Phil Ramos (Luis Guzmán), and their leader, Bernard Ryder (John Travolta)—hijack the lead car of a subway train in Manhattan. Ryder contacts MTA dispatcher Walter Garber (Denzel Washington) 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, The Taking of Pelham One Two Three (1974), was released in 1974. A TV remake, The Taking of Pelham One Two Three (1998), was released in 1998. Pelham refers to a local Manhattan train that departs from Pelham Bay Park. The "123" refers to the time that it leaves 1:23. The "taking" 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'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. "You're my goddamn hero," Ryder says as he sinks to the ground. Later, while on his way home, Garber is stopped by the mayor (James Gandolfini) 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'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's drafts were meant to be "essentially familiar" to those who read the novel, preserving the "great hero vs. villain thing" 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 "two guys who weren't necessarily all that different from each other." 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's almost exclusively a duel between disgraced MTA dispatcher Walter Garber and manic gunman Ryder.
In the book and original film, Ryder is "cold-blooded and calculating", but in the 2009 film he is a "loose cannon willing to kill innocents, not out of necessity, but out of spite." 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 "Mr. Blue" nickname as the original film does; it is implied that Ryder is a nickname. a5c7b9f00b
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