The Pawnbroker (1964)

User Rating:

7.8/10   

Director:

Sidney Lumet

Writers:

Morton S. Fine (screenplay) &
David Friedkin (screenplay) ...
(more)

Release Date:

20 April 1965 (USA)

Genre:

Drama

Tagline:

The Most Talked About Picture!

Plot:

A Jewish pawnbroker, victim of Nazi persecution, loses all faith in his fellow man until he realizes too late the tragedy of his actions.

Plot Keywords:

Concentration Camp | Nazi | Jewish | Pawnbroker | Lawnmower

Awards:

Nominated for Oscar. Another 7 wins & 5 nominations

Cast

Rod Steiger	...	Sol Nazerman
Geraldine Fitzgerald	...	Marilyn Birchfield
Brock Peters	...	Rodriguez
Jaime Sánchez	...	Jesus Ortiz (as Jaime Sanchez)
Thelma Oliver	...	Ortiz' Girl
Marketa Kimbrell	...	Tessie
Baruch Lumet	...	Mendel
Juano Hernandez	...	Mr. Smith
Linda Geiser	...	Ruth
Nancy R. Pollock	...	Bertha
Raymond St. Jacques	...	Tangee
John McCurry	...	Buck
Ed Morehouse	...	Robinson
Eusebia Cosme	...	Mrs. Ortiz
Warren Finnerty	...	Savarese
rest of cast listed alphabetically:
Jack Ader	...	Morton (uncredited)
Marc Alexander	...	Rubin (uncredited)
Charles Dierkop	...	Robinson (uncredited)
Morgan Freeman	...	Man on Street (uncredited)
Hilda Haynes	...	Woman (uncredited)
Marianne Kanter	...	Joan (uncredited)
E.M. Margolese	...	Papa (uncredited)
Donnie Melvin	...	Nazerman's Son (uncredited)
Reni Santoni	...	Junkie selling radio (uncredited)

Directed by
Sidney Lumet

Writing credits
Morton S. Fine		(screenplay) (as Morton Fine) &
David Friedkin		(screenplay)
Edward Lewis Wallant		(novel)

Produced by
Philip Langner	....	producer
Roger Lewis	....	producer
Joseph Manduke	....	associate producer
Worthington Miner	....	executive producer

Original Music by
Quincy Jones

Cinematography by
Boris Kaufman

Film Editing by
Ralph Rosenblum

Casting by
Jessica Levy

Production Design by
Richard Sylbert

Costume Design by
Anna Hill Johnstone

Makeup Department
Ed Callaghan	....	hair stylist
Bill Herman	....	makeup artist

Production Management
Ulu Grosbard	....	unit manager
Mel Howard	....	assistant production manager
Al Markim	....	executive in charge of production (as Alfred Markim)

Second Unit Director or Assistant Director
Dan Eriksen	....	assistant director

Art Department
Albert Brenner	....	assistant art director (as Al Brenner)
Jack Flaherty	....	set dresser
Ken Thompson	....	construction chief
Thomas Wright	....	chief props (as Tom Wright)

Sound Department
Jack Fitzstephens	....	sound editor
James A. Gleason	....	sound mixer (as James Gleason)
Alan Heim	....	sound editor
Dennis Maitland	....	sound
James Perdue	....	sound (uncredited)

Camera and Electrical Department
Howard Fortune	....	chief electrician (as Buddy Fortune)
Edward Knott	....	chief grip (as Eddie Knott)

Costume and Wardrobe Department
George Newman	....	wardrobe
Marilyn Putnam	....	wardrobe

Editorial Department
Sheila Bakerman	....	assistant editor

Music Department
Billy Byers	....	orchestrator (as William Byers)
Quincy Jones	....	orchestrator
Jack Sheldon	....	musician: trumpet (uncredited)

Other crew
Belle Iacobellis	....	production secretary
Maggie James	....	script supervisor
Ely A. Landau	....	presenter (as Ely Landau)
Dana Steadley	....	production secretary
Herbert R. Steinmann	....	presenter
Harold Reidman	....	location manager (uncredited)

Production Companies

• Landau Company

Distributors

• Allied Artists Pictures (1964) (USA) (theatrical)
• American International Pictures (AIP) (1965) (USA) (theatrical)
• Wivefilm (1966) (Sweden) (theatrical)
• Artisan Home Entertainment (2003) (USA) (DVD)
• Planet (UK)

Special Effects

• Film Opticals (optical effects)

Other Companies

• Recording Studios  sound recording
• F. Hillsberg  titles

Runtime:

116 min

Country:

USA

Language:

English | Spanish | German

Color:

Black and White

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Iceland:12 | Canada:R (Ontario) | Norway:16 | UK:12 (1998) | UK:X (1965) | Finland:K-16 | Sweden:15 | West Germany:16 (bw) | USA:Approved

Filming Locations:

116th Street, Manhattan, New York City, New York, USA

Company:

Landau Company

Trivia:

Since the film was black and white, the blood seen is actually chocolate syrup.

Goofs:

Continuity: As Jesus runs down the street, his shirt changes from a V-neck to a turtle neck, and then back again.

Quotes:

Sol Nazerman: I do not believe in God, or art, or science, or newspapers, or politics, or philosophy.
Jesus Ortiz: Then, Mr. Teacher, ain't there nothing you do believe in?
Sol Nazerman: Money.

Movie Connections:

Featured in Indie Sex: Censored (2007) (TV)

Soundtrack:

I Don't Wanna Be a Loser

Heavy Duty Lumet New York Drama.

Rod Steiger considered this his best performance and he might be right. He is, for him, subdued for most of the film, although towards the end he punctuates his performance with silent screams. He's pretty good as the survivor of Auschwitz, consumed by survivor guilt, and denying himself any pleasures except the money taken in his pawn shop.

Various figures come and go in his life, although he shows no particular interest in any of them, and aversion towards many. The characters are rather sketchily done, as they might be in a play. There is the ambitious assistant, the whore, the gangster, the lonely man who wants to talk about Herbert Spencer, Reni Santoni as a quivering junkie, the pregnant young girl who wants to sell her engagement ring. (Not a wedding ring, mind you, this is an illegitimate pregnancy and in 1964 you were still in trouble if you had no husband and no opportunity for an abortion.) "That diamond is glass," he tells the stricken girl brusquely. Steiger's Sol Nazerman is a pretty cold fish.

His relationship with his Latino assistant is key to Steiger's evolution. Steiger "teaches" him that nothing matters but money, so Ortiz very sensibly decides to help the local gangsters hold up Nazerman's shop. But the assistant, instead, teaches Nazerman something. Killed in the robbery, he teaches Nazerman to feel pain, which Nazerman then reaffirms by impaling his palm on one of those spikey receipt holders, a kind of stigma to go along with his concentration camp tattoos.

The movie was pretty much a shocker on its release. Partly because the audience got to see some naked breasts. Amusing now, isn't it? It was also knocked because of the way Latinos and blacks were treated. I don't know why. It would be surprising if the owner of a pawn shop on 116th street didn't have a lot of customers who were people of color -- good and bad.

The jazz score is loud and at times almost overwhelming. The photography makes 1964 New York grimy, smoggy, and dangerous.

If you haven't seen it, catch it if you have the chance. You're not likely to forget it in a hurry.