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Author Topic: The Taking of Pelham One Two Three (1974)  (Read 10776 times)
dave jenkins
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« Reply #75 on: March 04, 2016, 08:29:41 AM »

You are correct. But that comment, made in passing, has no bearing on his analysis of Matthau.

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« Reply #76 on: July 03, 2016, 10:40:05 AM »

42 Anniversary Special Edition: http://trailersfromhell.com/the-taking-of-pelham-one-two-three/#.V3k-O_ZTFjp
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KL Studio Classics (Kino’s) 42nd Anniversary Special Edition Blu-ray of The Taking of Pelham One Two Three looks great, just as good as the MGM disc from five years ago. Cameraman Owen Roizman became a “New York look” specialist after The French Connection. Film stock in 1974 was nowhere near as sensitive as it is today. For ads referencing Pelham in American Cinematographer, Deluxe Lab claimed that pre-flashing film was a safe way to get decent images in very dark filming situations. The procedure yielded a low-contrast image with heavy granularity. Frankly, studios and labs took advantage of the fact that “gritty” crime movies around this time didn’t have to look good — the release print I saw for Pelham looked awful. I played the old 1992 MGM laserdisc until it fell apart like an onion, and it was no beauty either. On Blu the show is delight, with many more colors than gritty blue and green. The soundtrack for David Shire’s catchy jazz theme is particularly sharp.

The special edition extras, a trio of well-chosen interviews, are a real treat. Actor Hector Elizondo comes off as a sweetheart of a guy, telling us of his career situation, his worship of director Joseph Sargent, and the seriousness with which he took on the role of the machine-gun toting Mr. Grey. Elizondo’s anecdotes about the cast, including Walter Matthau, hold our attention well. The other two reviews are more limited in scope. David Shire discusses his score in enough detail to keep soundtrack fans happy. Editor Gerald Greenberg gets into some of the problems he had putting the final show into shape. A still and ad art montage and a trailer are included, as is the ‘Trailers from Hell’ entry for the show, with commentary by director Josh Olson.

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drinkanddestroy
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« Reply #77 on: July 03, 2016, 11:59:30 AM »

so the movie itself looks the same as the MGM version, and the only difference between the MGM and KL are the bonus features?

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« Reply #78 on: July 03, 2016, 02:54:11 PM »

That's my understanding. But since this new edition is less than $17 and I love the film the extras are worth the cost to me.

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« Reply #79 on: July 06, 2016, 09:47:40 AM »

So the extras aren't all that special, with one exception. David Shire actually explains the score to us! Not in detail, but he gives a very nice overview that tells us how he came up with it, what he was going for, and why he thinks he succeeded. Pretty interesting.

The interview with Hector doesn't have a lot of info, except how he respected everyone he worked with.

The interview with the editor has very, very little info, but there is one bit about how a single subway car can't go any faster than 10 miles an hour and that you have to link cars (because they've each got motors) to get anywhere near the 60 or 70 mph that's supposed to happen with the runaway car at the end of the film. And of course that car is a single. So trickery was required in order to put over the idea (I think we all knew that but it wasn't until now that I learned the detail about single cars).

The audio commentary is by a couple of fanboy brothers who don't do any better than what Drink and I could do.

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