It is one of the hottest summer afternoons on record in Brooklyn, and two inept citizens - Sonny (Al Pacino) and Sal (John Cazale) - attempt to rob a bank. From the get-go everything that could go wrong, does go wrong. Attracting the attention of the police, Sonny winds up with a hostage situation on his hands. Police, crowds and inevitably the media arrive, creating something of a circus on the Brooklyn streets. When Sonny's motivation for the robbery comes out, this adds even more fuel to the media frenzy.

Dog Day Afternoon is, justifiably, a modern cinema classic. Made years before the proliferation of so-called 'reality TV', Dog Day Afternoon examines what it meant to be a celebrity by doing very little. Based on real events, director Sidney Lumet has consciously gone for a naturalistic realism without strictly referencing the exact events of the day. He allows the cameras to wander about to find the action, and more importantly allows his actors the freedom to find their own voices. As the frenzy builds up outside, we never get the feeling that we are on a set - which we aren't - but rather watching a live broadcast of the events as they unfold. The net effect is that is that the film makes the audience believe they are actually watching something real. The frequent moments of humour, sometimes dark humour, that flash throughout the film are brought about by the situation giving rise to comedy, but the film does not necessarily impose this on the story. One can readily ignore the slightly dated trappings of clothing and television equipment as the story is so strong: this could literally be happening down the street, and it is this that makes it a lasting classic.

The real brilliance in Lumet's direction is that he has allowed his fine ensemble of actors to improvise and do what they do best. Some of the best scenes come out of this improvisational technique, including a scene that is truly telling about Cazale's character of Sal. When asked which country he'd like to flee to, he unepectedly responds "Wyoming". It is fascinating to watch these trained actors play off each other in improvisational moments. In one scene that was completely improvised, cop Durning has Pacino on the ropes, but we slowly watch the actor (in character) regain control of the situation and reassert his dominance. This was reportedly what really happened, but the film offers a fascinating look at how an actor can get completely inside the head of a character to the point that their traits are second nature. This is not to take away from Frank Pierson's Oscar-winning screenplay, which really shines during moments such as the phone conversation between Sonny and his transsexual lover, and Sonny reading out his last will and testament.

Many of the Oscars and other awards going around that year went to another classic, One Flew Over the Cuckoo's Nest. However, Dog Day Afternoon's ability to move seamlessly back and forth between comic absurdity and genuine tragedy makes it one of the finest examples of cinema to this day. While the film is definitely a product of the mid-1970s, with its sense of rebellion and incorporation of many of the issues that were to becoming worth marching over, its sense of realism makes it something that will always be relevant to movie audiences.

Warner continually impresses me with just how good some of their catalogue titles can look. This one may not be quite as shiny as some of the other recent titles I have reviewed, but it is still an excellent job. While I wasn't able to do a direct comparison between this edition - presented here in 1.78:1 anamorphic widescreen - the previous edition was reportedly presented in a 1.85:1 aspect ratio. Some sites also report that the 1.85:1 is the original theatrical aspect ratio. It is probably too close to call, and it certainly looks about right anyway.

The film was intentionally lit to resemble 'real life' as much as possible. This may also be a partial explanation for some of the grain that is present throughout most of the film. However, I also suspect that some of this grain is not a stylistic choice. However, in every other way, this is an excellent presentation. Colours are naturalistic, and the picture quality is largely sharp and clear. Occasionally, one will notice some aliasing on the patterned '70s clothing, but this is not a frequent occurrence.

An otherwise solid video presentation.

Dog Day Afternoon's soundtrack is a distinct one. With the notable exception of Elton John's "Amoreena" playing over the opening montage, no score is used to highlight the dramatic tension. Director Lumet rightly felt that this would undercut the 'realistic' feel he was going for with the film. As a result, the emphasis here is on dialogue.

Naturally, all of the sound comes from the front and centre speakers with no use of the surround or subwoofer. The dialogue comes across loud and clear, with no audio drop-outs or sync problems. The only time that I felt something more than mono could have been used was during the crowd scenes outdoors. Indeed, several supplements refer to the use of 'stereo'. However, all editions of this film on DVD have presented this film in a 1.0 Mono, and it still sounds perfectly acceptable.

The main reason most fans will have for upgrading their previous copy of Dog Day Afternoon is the special features package. Although a famous 'Warner 2-Disc Special Edition', this doesn't quite live up to the crown. That said, there are quite a few worthy features in this collection.

Disc 1

Audio Commentary - The main feature on the first disc is the audio commentary with director Sidney Lumet. Despite a few minor silences, Lumet shows us just how knowledgeable a filmmaker he is. He comes across as an 'actor's director', and much of the track is dedicated to how the various actors achieved certain scenes. He also discusses his distaste for reality television, and the unique methods he used to create this film. Lumet also mentions that there were very few 'deleted scenes' as almost everything was shot with a specific idea in mind. An excellent track.

Trailer (2:33) - The only thing better than a theatrical trailer is a vintage theatrical trailer. It might be a personal quirk of mine, but I just really dig watching older trailers. Now everyone can share in my obsession. The support group meets on Wednesday nights at 7:30pm in an abandoned salt mine.

Disc 2

The Making of Dog Day Afternoon (57:52) - Although this is split up into four smaller featurettes - Story; Casting the Controversy; Recreating the Facts and After the Filming - a handy 'play all' option allows us to view them all together as a documentary running just under an hour. Using footage from the film and new interviews with Lumet, Al Pacino and Lance Henriksen, this documentary weaves a fairly comprehensive picture of the making of the film. Most of the main issues raised in the film are illuminated, and it will give casual viewers a fresh perspective on the film.

Lumet: Film Maker (9:59) - A real gem of an inclusion, this vintage 'making of' features a great deal of on-set interviews and behind the scenes footage. It is rare to see this type of 'making-of' on older films, and it is a great featurette that goes a long way towards making this a more comprehensive set.

Dog Day Afternoon remains as relevant and sharp as it was over thirty years ago. A film that deals with any 'issues' always faces the potential problem of dating quickly, but this is not the case here. It is perhaps a little worrying that some of the film's concerns can still be applied today! Outstanding performances, a terrific cast and some excellent writing make this one of those films you'll want to watch again and again.

A great transfer and a handsome set of extras make this a great packaging for fans, especially at the low RRP of $19.95.

Highly recommended.