40 years ago, the combination of “white flight” to the suburbs and New York City being on the verge of bankruptcy hurt the image of Manhattan and the other five boroughs around the country.
Instead of “Fun City,” wags started calling The Big Apple “Fear City.”
Ironically, that gritty period was preserved forever in dozens of movies that were shot on location after Mayor John Lindsay created the New York Film Commission which made it easier than ever to film on the streets of the city.
Lindsay made the policy change in 1966, not realizing that moviemakers would be drawn more to the squalor of Manhattan in those days than the glitz that could still be found in various enclaves of the rich and famous.
The 1970s might have been a terrible time for New York City’s municipal finances and crime rate, but it was a Golden Age for the moviemakers who worked in the city then.
It was the period when Martin Scorsese, Woody Allen, Sidney Lumet and Paul Mazursky did much of their best work. The pictures shot in New York in the 1970s have a raw quality — you couldn’t hide the fact that the city was in
the middle of a social and cultural breakdown — and the reality of the backdrop pushed actors to be as authentic as the setting.
Method specialists Al Pacino and Robert De Niro emerged from the New York films of the 1970s, but so did Diane Keaton and Jill Clayburgh.
One of my favorite 1970s New York pictures — “The Taking of Pelham One Two Three” — was horribly remade four years ago by director Tony Scott with Denzel Washington and John Travolta starring.
Although the original “Pelham One Two Three” was endorsed by critics and audiences in 1974, it wasn’t a “prestige” hit like “The French Connection” (1971) or “Serpico” (1973).
It was only with the passage of time that film buffs and young moviemakers such as Quentin Tarantino began to appreciate the incredible filmmaking craft that went into this thriller about a subway hijacking.
The criminal gang — led by mercenary Robert Shaw — all dress identically and call each other by color-coded names (Mr. Blue, Mr. Green, etc.), a device that Tarantino tipped his hat to in “Reservoir Dogs.”
What separates “Pelham One Two Three” from most of the other 1970s New York crime pictures is the black comedy that director Joseph Sargent and screenwriter Peter Stone found in such an explosive premise.
The transit cop who negotiates with the hijackers is played by Walter Matthau (above) in one of his best and most droll performances. The actor captures the essence of the seen-it-all New Yorker who is ready to cope with whatever bizarre situation he faces next.
Stone also uses the financial catastrophe of the city for some wry joking. When the hijackers demand $1 million, the mayor and his minions aren’t sure if they can raise the cash in a few hours.
“Pelham One Two Three” must have been a logistical nightmare —with much of the film shot on subway platforms and in the tunnels connecting them — but it has a documentary feel that you just don’t find in contemporary Hollywood movies.





















