The final set between Antonioni and Lumet takes us to 1975. Antonioni is riding high after the success of Blowup and snags Jack Nicholson a court-side seat for this set, adding The Passenger to his international reputation. Lumet goes back to his roots, New York City, to adapt a true story about a bank robbery gone wrong in Dog Day Afternoon.
The main characters in each film share common problems. They are both trying to hide who they really are. In The Passenger, David Locke (Jack Nicholson) takes on a new identity, while Sonny (Al Pacino) has kept hidden aspects of his own life in Dog Day Afternoon. Both directors have turned up the heat in this final set. Let’s see how hot it gets.
A frustrated man looking for a way out
Antonioni serves a blazing shot in the deserts of Algeria as the journalist Locke gets stuck in the sand and has to walk back to his hotel, where he discovers a dead acquaintance. As Locke slowly switches identities with the dead man, flashbacks mixed with an audio recording of their earlier conversation provide a few details to the man’s identity (he was an arms dealer). Later flashbacks add insight to why Locke decided to become someone else.
The robbery quickly turns into a showdown
Lumet fires back with Sonny and his friend Sal (John Cazale) attempting to rob a bank on a sweltering summer day (actually filmed in winter, which shows at times). After a third accomplice decides not to go through with the robbery (and whines about not being able to take the getaway car), the robbers find out the bank’s cash has been picked up for the day. Further mistakes by Sonny bring unwanted attention on the bank, which is quickly surrounded by police. Lumet jumps into the story right away, but the point goes to Antonioni for setting up a more intriguing scenario.
Attempting to put the pieces together
Antonioni’s next serve provides a new relationship for Locke, since his former wife thinks it is he who has died. The Girl (Maria Schneider), who Locke had seen earlier in the film, offers him help concealing his identity from a friend looking for answers to Locke’s death. They quickly bond and become a pair on the run in Spain after police start asking questions. Their relationship is odd, but perhaps that is the way it has to be considering the circumstances. There was nothing compelling, however, to keep it interesting. She seemed merely an add-on.
Lumet strikes back with a touchy subject, especially for the time, but one that remains timely. When Sonny asks to see his wife, everyone expects the annoying female wife shown talking to police in an earlier scene. But in a great twist that is played matter-of-factly, Sonny’s male wife Leon is brought in a police car to the scene, fainting when he gets out and hears Sonny call his name. The police plucked him right out of the mental hospital where he had been placed after attempting suicide. The following short scene is the phone call between Sonny (still holding hostages in the bank) and Leon. Leon is barely visible in most of the scene, highlighting his real life situation. Point goes to Lumet for his handling of complex relationships and not backing down from the subject.
The beginning of the long take, the end of Locke
Antonioni finishes with a heavy dose of his trademark style and technique. After Locke sends the Girl away with a promise to meet up later, Antonioni lets the weight of the moment sink in. Locke has to hide from the police but the Girl manages to find him. Then comes the moment that The Passenger is most recognized for: one of the best long takes in the business. The shot starts with a headless Locke relaxing in the bed and continues out the barred window into the dusty street. By the time the camera returns to the hotel room, Locke’s game is over. Antonioni lets the viewer dwell on Locke’s actions and doesn’t impose any interpretations. Like most of Antonioni’s films, it is a beautiful ending, the kind that Hollywood avoids.
Sal won't be making it to Wyoming
Lumet, on the other hand, offers a bit more interpretation to the consequences of Sonny’s decision. Aided by the tension-producing sounds of an airport, the final scene in Dog Day Afternoon, while not a long take, plays out beautifully. As Sonny, Sal, and the hostages watch their airplane taxi toward them, Sonny worries aloud about food, while Sal remains silent, gun at the ready. John Cazale turns Sal into a major character, one the audience cares about. Especially touching is the scene where the final hostage is freed in exchange for the plane. As she exits the van, she gives Sal a rosary since it will be his first time on an airplane and she knows he is nervous. Point, set, and match go to Lumet for his ability to bring the best out of his actors. Al Pacino gives one of the greatest performances of his career.
Final thoughts: While I am a great admirer of Antonioni films, I had to be honest in my reviews of these specific five films from each director and award the match to Lumet, whom I do think is underrated. It struck me as odd that Antonioni is synonymous with alienation, but I felt a much stronger sense of alienation from the Lumet films. Antonioni is much more a master of technique and nuance but Lumet understands story and character better.
Next match: Satyajit Ray v. Andrzej Wajda (starting June 2)
