Authentic Melodrama.

Rating: 9/10 (6 April 2004)

(some spoilers)
Ultimately, the audience has a tough time deciding what genre Dog Day Afternoon belongs with. The storyline is very slow paced, but the subtleties in action and humor that progress the story are very strong contributing elements. As with many of his films, Lumet takes a very even-handed approach to telling tales. This strategy clearly began with 12 Angry Men as nearly the entire film takes place at one location. Both films easily take advantage of the audiences' desire to alleviate tension from time to time. Though Dog Day Afternoon is ultimately a crime-drama, it dabbles relentlessly in comedy. Naivety is initially displayed when Sonny and Sal begin the heist. After the film progresses, it is clear that Sal maintains this characteristic to support contrast between leader and follower. The film also incorporates a healthy amount of absurdism through Sonny's first wife Leon. There is nothing more surprising or shocking in this film. The subject matter is bewildering yet intriguing, its application is upbeat and non-partisan, and the effect is hilarious but poignant. Ironically, one of the film's most dramatic scenes is the (improvised) telephone conversation between the two former lovers. This particular sequence earned Chris Sarandon a Best Supporting Actor nomination for the 1976 Academy Awards.
Finally, exhibitionism exercises the audiences' right to sympathize with the men. Our perspective is echoed in the mobs outside the bank. These individuals have decided to support the determined (but socially detached) thieves. The public seems eager for the spectacle to unfold, yet they rally against law enforcement and instantly assimilate their influence into the conflict.
A good look at the consequences of stupidity.
***1/2 (of ****)