Director John Frankenheimer in top form with ‘Black Sunday’

BLACK SUNDAY (1977)

By TERRY R. CASSREINO

Long before author Thomas Harris introduced Hannibal Lecter into the film and literary world, he wrote a crackling suspense thriller about a terrorist plot to bomb the Super Bowl in New Orleans.

“Black Sunday” was a page-turner unlike any other. I devoured the book quickly in the fall of 1975 during my one-hour commute after school aboard a series of New Orleans public busses.

So, when veteran film maker John Frankenheimer jumped on board to direct the movie version, I knew it had to be good.

Frankenheimer helmed such important political thrillers as “The Machurian Candidate” and “Seven Days in May.” Frankenheimer even directed the underrated sequel to “The French Connection” in which Gene Hackman reprised his role of Popeye Doyle.

Frankenheimer, to me, seemed a great choice for “Black Sunday.” I was right.

Original ‘Taking of Pelham One Two Three’ tops insipid remake

THE TAKING OF PELHAM
ONE TWO THREE (1974)

By TERRY R. CASSREINO

From the thumping, repetitive bass line of the main title theme to the gritty New York City atmosphere, “The Taking of Pelham One Two Three” remains one of the screen’s most successful crime thrillers.

Of course, I’m referring to the 1974 original film – not the pointless 2009 remake featuring Denzel Washington and John Travolta, an unsuccessful and totally unnecessary exercise.

“The Taking of Pelham One Two Three,” based on the book of the same name by John Godey, tells the gripping story of a group of heavily armed men who hijack a New York City subway and hold its passengers for ransom.

Meanwhile, Lt. Zachary Garber of the New York City Transit Authority leads efforts above ground to negotiate with the terrorists, secure the $1 million ransom and rescue the passengers. The back-and-forth play, above and below ground, heightens the film’s tense suspense.