ffolkes (1980)

LAST DECEMBER, there was a great article by Entertainment Weekly's Chris Nashawaty about Roger Moore, where Nashawaty mentions how people his age (children of the ‘70s, including yours truly) see Moore as the James Bond. Sure, we go back and watch Sean Connery’s Bond films out of obligation, but Moore will always be 007 for our generation.

Which makes ffolkes – and Moore in the title role – so refreshing to watch…

Plot:
• On the North Sea, a team of terrorists led by Lou Kramer (Anthony Perkins) hijacks the Norwegian ship Esther and two British oil platforms, Ruth and Jennifer – planting bombs on all three.
• Kramer then anchors Esther next to Jennifer and tells Jennifer’s commander his demands: The British government must pay him £25 million in five different currencies (“the money market is so unstable these days,” he quips). If he doesn’t get the money in 24 hours, he blows up Ruth. Four hours after that, he blows up Jennifer.
• The British military can’t get close to Ester, Ruth, or Jennifer without Kramer’s team getting wise, so they call on Rufus Excalibur ffolkes (Moore) – leader of an elite special-ops team who’s also an eccentric, cat-loving misogynist.

Critique:
• Rumor has it Moore felt he was miscast as ffolkes, but that couldn’t be further from the truth. He’s deliciously perfect as the dapper, egocentric ffolkes, and it’s fun to watch him in a decidedly different role from his then-current James Bond gig (he shot ffolkes between Moonraker and For Your Eyes Only). He fires off commanding dialogue from a script by Jack Davies (adapting his own novel), featuring several great zingers you’ll be repeating to yourself for days.
• Perkins is highly effective as head terrorist Kramer – starting as a bold, emotionless villain who slowly unravels as the standoff drags out. Veteran James Mason also appears in a supporting role as an apprehensive admiral of the British Royal Navy who goes along with ffolkes’ plan of attack.
• Some of Michael J. Lewis’ musical score is a bit overdramatic, but nothing that gets in the way of enjoying the film.

In Moore’s autobiography, he dedicates a few pages to filming ffolkes – talking about how Perkins was a walking encyclopedia of film knowledge, and relaying a funny anecdote about the film crew trying to sedate the overly frisky cats without cat-lover Mason finding out.

Bottom line: ffolkes is a unique, overlooked little gem. I highly recommend seeking it out.

aka North Sea Hijack.

Rating: 4 stars (out of 5)

Will your kids want to watch it?

I highly doubt your children have ever heard of ffolkes, but when you watch it, do so without young kids in the room. Though ffolkes is largely bloodless, people are shot, poisoned, harpooned, and thrown overboard. Also, a terrorist tries to get frisky with a female hostage.

Will your FilmMother like it?

ffolkes has more of a “guy” feel to it, and Moore’s title character is quite the he-man woman-hater. Though if she likes characters who like cats, maybe she’ll give it a chance.

That pizza should've been here by now...

ffolkes
• Director: Andrew V. McLaglen
• Screenwriter: Jack Davies
• Stars: Roger Moore, Anthony Perkins, James Mason, Michael Parks, David Hedison, Jack Watson
• MPAA Rating: PG


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The Taking of Pelham 1 2 3 (1974)

LIKE MOST PEOPLE MY AGE, my first exposure to legendary actor Robert Shaw was his role as Quint in Jaws. But his previous film, The Taking of Pelham 1 2 3, is one that any fan of Shaw’s should also check out – not just for Shaw, but for a well-crafted heist/thriller with great performances, believable plot, and an unmistakable point (and location) in time.

Plot:
• From the film’s opening – featuring composer David Shire’s marching drumbeat and staccato horns, coupled with the stencil font of the credits – Pelham screams “1970s New York crime drama” (in a good way).
• After being introduced to a bunch of working stiffs at the New York Transit Authority, we watch four men step onto the Pelham 1 2 3 subway train – all with identical hats, coats, glasses, and mustaches.
• The men – comprised of team leader Mr. Blue (Shaw), ex-transit worker Mr. Green (Martin Balsam), loose cannon Mr. Grey (Hector Elizondo), and stammering young gun Mr. Brown (Earl Hindman) – take the train and its 18 passengers hostage. Their demand: One million dollars. And for every minute the ransom is late, they’ll shoot a hostage.
• Trying to negotiate the situation at the transit command center is lieutenant Zachary Garber (Walter Matthau), who uses stall tactics, occasional humor, and a few white lies to keep Shaw and his team at bay.
• Meanwhile, it’s up to the mayor (Ed Koch lookalike Lee Wallace) to decide whether to pay the ransom – and if so, can it be delivered in time?

Critique:
• Director Joseph Sargent effectively captures the ‘70s grittiness of New York City, from the screech-filled platforms of the subway system to the un-PC work environment of the Transit Authority.
• Shaw is amazing to watch. His Mr. Blue never gets rankled during the standoff (he passes the time doing crossword puzzles). His tone and facial expressions remain constant and in control, even when aspects of the heist turn tragic or he’s dealing with the growing tension between himself and Elizondo’s Mr. Grey. (Blue vs. Grey: a play on Civil War colors? Discuss.)
• Peter Stone’s screenplay (adapted from John Godey’s novel) does a superb job of tying all aspects of the story together, leaving little room for loopholes or what-ifs. He creates a thrilling yet believable atmosphere and plot, making you feel like the events in the film could actually happen.
• The supporting cast, from the transit workers to the unnamed patrons of the Pelham subway car, all do a commendable job in creating an environment dripping with Noo Yawk attitude. Special kudos to Tom Pedi for his hilariously profane turn as “Fat Kaz” – a grouchy transit supervisor who, when told to watch his language in front of a woman, replies, “How the hell can you run a goddamned railroad without swearing?”

Odds and ends:
• The color-coded names of Shaw and his team undoubtedly influenced Quentin Tarantino when naming his crew of criminals in 1992’s Reservoir Dogs.
• Earl Hindman, aka the stuttering Mr. Brown, found fame two decades later as Tim Allen’s facially obstructed neighbor Wilson on TV’s Home Improvement.
• Pelham is name-checked by the Beastie Boys in their 1994 hit “Sure Shot.”
• The name of an actor who plays a subway guard? Jim Pelham.
• Watch for Jerry Stiller (Seinfeld, King of Queens) in a supporting role, plus a bit part by Everybody Loves Raymond's Doris Roberts as the mayor’s wife.

A remake of The Taking of Pelham 1 2 3 opens this Friday (June 12), and I’m rooting for it for a couple of reasons:
• It’s written by Brian Helegand, co-writer of FilmFather Favorite L.A. Confidential.
• Fellow dad-blogger John Wildermuth worked on it as first assistant director and associate producer (read my interview with John here).

The Taking of Pelham 1 2 3 is the kind of filmmaking indicative of its era – a gritty crime drama with just enough levity and camaraderie to create a fun, satisfying film experience.

Rating: 3.5 stars (out of 5)

Will your kids want to watch it?

Older kids (teens) may think it’s a cool concept, and if you think they can handle gun violence and a colorful array of profanities, then they should be fine with it. I’d keep pre-teens away from it, though.

Will your FilmMother like it?

If she likes thrillers, crime dramas, or any of the stars listed above, she should enjoy the movie. Otherwise, make it one to watch alone or with the guys (or older sons).

Ah, the lost art of the movie poster...
anybody else miss one-sheets like this?

The Taking of Pelham 1 2 3
* Director: Joseph Sargent
* Screenwriter: Peter Stone
* Stars: Walter Matthau, Robert Shaw, Martin Balsam, Hector Elizondo, Earl Hindman, Dick O’Neill, Jerry Stiller
* MPAA Rating: R


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