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The Taking of Pelham One Two Three

The Taking of Pelham One Two Three

Crime · Thriller · Comedy · 1974

In New York, armed men hijack a subway car and demand a ransom for the passengers while the authorities question about the method of their escape.

Movie details

The Taking of Pelham One Two Three

“We are going to kill one passenger a minute until New York City pays us 1 million dollars.”

1974 Crime · Thriller · Comedy 1h 45m

Critical arithmetic

One number, for now.

TMDB

7.5 / 10

Community rating

In New York, armed men hijack a subway car and demand a ransom for the passengers while the authorities question about the method of their escape.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Taking of Pelham One Two Three?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The Taking of Pelham 1 2 3

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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.

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Names above the title

The people responsible.

Directed by

Joseph Sargent

Written by

Peter Stone

Walter Matthau

Walter Matthau

Lt. Garber

Robert Shaw

Robert Shaw

Blue

Martin Balsam

Martin Balsam

Green

Héctor Elizondo

Héctor Elizondo

Grey

Earl Hindman

Earl Hindman

Brown

James Broderick

James Broderick

Denny Doyle

Dick O'Neill

Dick O'Neill

Correll

Court is in session

Put The Taking of Pelham One Two Three on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Adrenaline Seeker

“Momentum is a formal choice.”

The velocity sharpens instinct and tension, making every beat land before self-importance can settle in.

The prosecution The Auteur Devotee

“Speed as an alibi.”

The film races past its weak spots and hopes acceleration will keep the audience from inspecting the evidence.