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BROWSE REVIEWS Click on a letter to browse through the reviews on this site: |
DOG DAY AFTERNOON With over seventeen
years experience behind the camera, director Sidney Lumet directed this
powerful and virtually flawless film that was based on an actual bank robbery
that occurred on August 22nd, 1972. The film stars Al Pacino (who had also
worked with Lumet in 1973’s SERPICO), who plays Sonny Wortzik, and the
late John Cazale as Sal. The film was nominated for Best Picture, Director
(Lumet), Actor (Pacino, with his fourth nomination after THE GODFATHER,
THE GODFATHER, PART II and SERPICO), Supporting Actor (Chris
Sarandon with his sole nomination), and Best Editing. Frank Pierson (who is
better known for helping to pen COOL HAND LUKE), won the film’s only
Oscar for Best Original Screenplay. Though the film was widely received by
critics and a huge box-office hit, it didn’t stand much of a chance in the
year of ONE FLEW OVER THE CUCKOO’S NEST. No matter, the film remains
one of the most taut and gripping dramas ever put on film. The film starts off
with three people planning on pulling a bank heist in Brooklyn one ordinary
morning. Though the third man eventually chickens out and decides to leave,
Sonny (Pacino), and Sal (Cazale), go through with their plan. Unfortunately
for them the tip about the money being dropped off that day was false, and
all that is in the vault is a few hundred dollars. Having worked in a bank
once before, Sonny knows the procedure for tipping off the cops during a
robbery and carefully eyes the woman who gives him the money from the cash
machines. However, when he burns the registry book in a garbage can the smoke
draws attention from across the street. And before Sonny can do anything
else, cops, the media and onlookers surround the entire place. Soon the
robbery has turned into a nationwide event, as Sonny and Sal decide to take a
dozen or so people in the bank hostage (all women except the bank manager).
However, Sonny is gaining public support from the ever growing crowd outside,
and when hostage negotiator Moretti calmly draws Sonny outside with the
guarantee he will be safe, the crowd make their appreciation of him very
clear. Not trusting cops and being a Vietnam vet, he screams to the crows Attica!
Attica!, referring an incident in Attica prison when police officers
gunned down innocent civilians and prisoners by the NYPD. He is becoming a
national hero, and even those he has taken hostage have found their captors
somewhat charming (also the thrilled to be part of something this big).
However, the crowd turns on him when they learn that Sonny is actually a
bisexual and married to a man by the name of Leon (Sonny also has a wife and
two kids). Sonny and Sal
eventually strike a deal. For every favor they get, one hostage will be
released. However their demands for escape is somewhat deluded, as they
demand that a plane be set up to take them to whatever country they desire (Where
do you want to go Sonny asks Sal. Wisconsin replies Sal). However,
their flight to freedom is cut short as once they get to the airport by way
of a van, the officer driving the van shoots down Sal and Sonny arrested. The film masterfully
displays how audiences can be so in tuned to something spectacular without
considering the emotional toll it can have for those directly involved. It’s
a circus, a freak show and nothing more. It’s strange to see how the audience
roots for Pacino in the beginning and then turn on him once the news that he
is involved romantically with a man spills out. It goes to show that it isn’t
a person these people are interested in, but the situation and the hype. The performances by
everyone involved is top notch, from Pacino delivering a performance that is
both humorless and heartbreaking, to Cazale giving Sal a very frightening and
humane quality. He is subtle and yet has this tremendous presence as someone
who is willing to kill at the drop of a hat. Yet there are the moments where
he really comes across as sympathetic and even God-fearing, ready to take the
lives of those he is holding hostage at Pacino’s say so. Everything has an
authentic feel to it, and the absence of a score helps the film greatly and
even gives it a documentary-type of feeling. The mood of the film shifts
dramatically, and the film gives us a chance to be both spectator and
participator as things progress. Some great scenes include Pacino going to
the back of the building where the exit is and looking up at the small window
above the barricaded door. We don’t see what he sees, but all of a sudden he
begins firing his gun towards it as a SWAT officer is attempting to gain
access through the window. It’s those scenes that give the film a great touch
of paranoia and we reflect off of Pacino’s character. Lumet’s direction is
restrained here, and that’s what makes the movie even greater in scope.
Instead of having scenes where the broadcast is spread nationwide and having
people’s reaction to it, the film is always focused on the street, in front
of the back (some scenes cut over to his wife who does absolutely nothing
but chatter on obnoxiously, and though the two characters never share a
scene, you can tell why Pacino can be a bit edgy after living with her).
Chris Sarandon also serves up a great performance as Pacino’s homosexual
lover (again, the two don’t share any scenes but speak to each other once on
the telephone in a very touching scene). It’s through the characters that
know Pacino best do we get an understanding of him. Sensitive yet hot
tempered. Lumet directs everything beautifully and with a great understanding
of the audience and his characters. One of the greatest
films of all time in my opinion, and the atmosphere, acting, direction,
writing and pace are all pitch perfect. So because of that, it deserves a
pitch perfect grade. I have absolutely no quandaries about anything the film
delivers, and that’s just what it does. It delivers. My Grade: A++ |