Al Pacino’s Violent Empathy in Dog Day Afternoon

Al Pacino is one of the great living actors, whose long career delivered many classics of American filmmaking. His performances in The Godfather, Scarface, ,And Justice for All, Serpico, and most recently The Irishman are full of intensity and passion. He has worked with many of New Hollywood’s auteurs over the years and has become a legend for his contributions. Among his many outstanding performances, the one I keep returning to is Sonny in Sidney Lumet’s Dog Day Afternoon. This heist film is one of the best movies of the 1970s, both a thrilling crime drama and a scathing critique of the American system. Dog Day Afternoon is turning 45 this year, and it remains an important film for Pacino and American filmmaking

Based on real events, Dog Day Afternoon takes place on August 22, 1972, when Sonny attempts to rob a bank with Sal (John Cazale) and Stevie (Gary Springer). Stevie runs off almost immediately, having lost his nerve. Sonny and Sal discover that they came too late; the money at the bank and already been picked up and there is little there. The pair hold the bank tellers hostage after taking the travelers’ checks, inadvertently alerting the police from burning the cash register. Det. Sgt. Moretti (Charles During) attempts to negotiate with Sonny and Sal, who bluff that they are ready to kill if necessary. A tentative bond is formed between the robbers and the hostages, while Sonny’s partner Leon (Chris Sarandon) reveals that Sonny planned to pay for her sex affirmation procedures and the FBI gets involved with the situation.

Pacino was nominated for an Academy Award for this performance, and it is easy to see why. He is anxious and nervous, but puts on a performance within the film as someone who knows what he is doing. The ineptitude and poor planning of the heist is part of what makes Sonny such an empathetic character. He’s not some criminal mastermind or one-note villain. He’s just a regular guy, not too different from the regular guy’s in the film’s opening. He’s desperate and sad, and sadly chose this method to get out of his situation. Pacino’s rage and his angst are understandable, and he plays the role with subtlety. Therefore, when he goes off the rails, like in the famous “Attica!”sequence, it is extremely effective.

Dog Day Afternoon is a film that’s ahead of its time. Its critique on capitalism resonates especially today. The focus on the trials of poverty–and the lengths people will go to overcome it–are fascinating to behold during the pandemic era. The classism built into the American system has been laid bare in a way different than ever before in my lifetime. But in Dog Day Afternoon we see an American that is fed up and pushed to the breaking point (see also: Lumet’s next masterpiece Network). The humanity shared between the robbers and the hostages, between Sonny and the bank Manager Mulvaney (Sully Boyar) and between Sal and bank teller Miriam (Marcia Jean Kurtz), show that in some ways they are all in this together, even if technically on opposite sides of the hostage situation.

The film was nominated for six Academy Awards, including Best Picture and Best Director. It won the Oscar for Best Original Screenplay. It’s a deserving win, even though the actors improvised much of the film with encouragement from Lumet. The structure of the film is airtight, with perfect pacing and thrilling sequences. The film does take time to breathe with more small-scale human moments. Pacino’s performance is one of his best, and it is truly wild that he delivered this performance and his iconic role in The Godfather within a short period of time. Al Pacino has had his ups and downs, and hopefully his work in The Irishman convinces him to keep trying to reach new heights.

*still courtesy of IMDB, Silver Screen Collection*

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Guest Writer