Dog Day Afternoon Reviews
Dog Day Afternoon
The sense of urgency fades away for a brief period of time in its middle act and that's the only weak link in this masterpiece that contains gripping screenplay, brilliant execution and stellar performance working all the way up to the ladder. Sidney Lumet still needs to be a bit strict on editing part but other than that he has done a great job from his side. Al Pacino is as usual, brilliant on portraying this broken real persona and brings out the best of him without any support (he literally is a one man show in this one). Dog Day Afternoon hits hard and fast with amusing perspective that stays true till the last frame along with an intense showdown between the cat and mouse sequences in its last act that always will be the highlight of this feature.
We first get a glimpse of how amateurish these criminals are when one of the three bails early on in the robbery, which is a comical moment. We also smile at Pacino's handling of the situation. He realizes the importance of the hostages he suddenly finds himself holding, but far from being heavy-handed, he tries to be decent with them. He whips the crowd up into an anti-establishment frenzy by shouting "Attica!", throwing wads of money into the air, and paying for pizza delivery. He gets into a shouting match with a police sergeant (Charles Durning). He talks to his wife, mother, and transgender lover (Chris Sarandon), and each conversation is touched with pathos, and fantastic. To his mother he says "I'm a fuck-up and I'm an outcast. If you get near me you're gonna get it. You're gonna get fucked over and fucked out." It's the outcast underdog that we find ourselves rooting for.
I love the simple acceptance of his sexuality, which is incidental and doesn't devolve into some type of stereotype - well ahead of its time. Director Sidney Lumet shows the seamy side of New York, but at the same time, its humanity. The characters are blunt, but understanding of one another when they simply say what they want. The relationships in this tense stand-off are fascinating.
I also liked how Lumet gets us into the story immediately. We learn the backstories and characters of the criminals, including Pacino's henchman (John Cazale) gradually, and in little moments, such as finding out he fears their escape plan because he's never been on an airplane before. The film works as both a hostage drama and as a character study. It may be a teeny bit too long at 125 minutes, but has held up well over the years, and is definitely worth watching.
I have always perceived this movie as a heavy social commentary tale. The first half turns out to be rather funny. Two bank robbers run into some outrageous hiccups while robbing the bank. An accomplice backed out in the last minute. One bank robber tries to be smart and burns a register in a bin. The smoke attracts a passer-by, risking being caught. After going through all the trouble, the bank vault is actually left with a small sum of money only. Then, without a clue, they are on national TV, surrounded by police, TV media reporters, a huge crowd and ... gay supporters. Al Pacino's character is a bisexual who is married to a chubby woman with two kids and has a guy he claims to be his wife. He robs the bank for his sex change operation. It is afterall a comedy?
Not really. The second half sees the movie declines into darker depths. It ends in a tragedy. I really hope the movie will end with a lighter note. It feels unbalanced.
Based on true events so I kind of cannot complain much.
Deserves a re-watch and probably a buy.
'Dog Day Afternoon' tells an unbelievable true story and, although its first half is definitely stronger than its second, it succeeds thanks to a great script along with a memorable performance by Al Pacino as the unusual bank robber.
It is hands down the greatest work of Sidney Lumet.