The Pawnbroker (1965)

Sidney Lumet’s “The Pawnbroker” – photographed in a stark black and white – is merciless, poignant, unsettling, and packs a devastating finale. It was the first American film to deal with the Holocaust from the perspective of a survivor. Rod Steiger – in arguably his greatest role – is that survivor, Sol Nazerman. Once a professor with a wife and children, Sol now runs an East Harlem pawnshop that plays front to a local mobster (Brock Peters). The shop offers dry cleaning, but only launders money. Sol loathes his customers, and everyone around him. They are “scum” and “creatures,” hate has bred more hate. As a devastating anniversary looms, the brick wall that Sol has built up and over his human shell cracks. Sol either will be reborn, or will get the death he longs for. Lumet inter-cuts long memories and quick violent images from Sol’s past: Subway cars become death trains, while a half-naked woman recalls his ravaged wife. The images are startling. “Pawnbroker” is dated in portions, some portrayals of African-Americans and Hispanics skate close to stereotype, but this is one hell of a film. Lumet’s genius is on display throughout. Steiger beautifully plays several ages and bursts with grief and God-hating rage. A