Sidney Lumet ( , loo-MET;
born June 25, 1924) is an American
film director, with over 50 films to his name,
including 12 Angry
Men (1957), Serpico
(1973), Dog Day Afternoon
(1975), Network (1976) and
The Verdict (1982), all of
which, except for Serpico (1973), earned him Academy Award nominations for Best Director.
According to
The Encyclopedia of Hollywood, Lumet is one
of the most prolific directors of the modern era making more than
one movie per year on average since his directorial debut in 1957.
He is especially noted for his ability to draw major actors to his
projects. "Because of his visual economy, strong direction of
actors, vigorous storytelling and use of the camera to accent
themes," states
Turner Classic
Movies. "Lumet produced a body of work that could only be
defined as extraordinary."
One of his steady themes during his career has been the "fragility
of justice and the police and their corruption," according to
Thomson’s
Biographical Dictionary of Film. He can deliver
"powerhouse performances from lead actors," and fine work from
character actors and is today one of the foremost figures of New
York moviemaking. His sensitivity to actors and to the rhythms of
the city have made him "America’s longest-lived descendant of the
1950s Neorealist tradition and its urgent commitment to ethical
responsibility."
Lumet began as an off-Broadway director, then became a highly
efficient TV director. His first movie was typical of his best
work: a well-acted, tightly written, deeply considered "problem
picture,"
12 Angry
Men (1957). Since then, Lumet has divided his energies
among other idealistic problem pictures along with literate
adaptations of plays and novels, big stylish pictures, and New
York-based black comedies. As a result of directing
12 Angry
Men, he is also responsible for leading the first wave of
directors who made a successful transition from TV to movies. For
being one of the most reliable and dependable directors of the last
half-century, in 2005 he received an
Academy Award for Lifetime Achievement for his
"brilliant services to screenwriters, performers, and the art of
the motion picture."
Early years
Lumet was
born in Philadelphia
, Pennsylvania
on June 25, 1924. He studied theater acting
at the
Professional
Children's School of New York and
Columbia University.
His parents were Baruch Lumet and Eugenia Wermus, both veteran
players of the
Yiddish stage. His father was
an actor, director, producer and writer, while his mother was a
dancer. His mother died when he was still a child. Lumet made his
professional debut on radio at age four and stage debut at the
Yiddish Art Theatre at five. As a child he also appeared in many
Broadway plays, including
Dead end and Kurt Weill's
The Eternal Road. In 1935
at age 11, Lumet appeared in a
Henry Lynn
short film,
Papirossen co-produced by radio star Herman
Yablokoff. The film was shown in a theatrical play with the same
title, based on a hit song,
Papirosn. The play and short
film appeared in the Bronx McKinley Square Theatre.In 1939 he made
his only feature-length film appearance, at age 15, in
One
Third of a Nation. In 1939, World War II interrupted his early
acting career, and he spent three years with the U.S. army.
After
returning from World War II service (1942–46) as a radar repairman
stationed in India and Burma, he became involved with the Actor's Studio
, and then formed his own theater workshop.
He organized an off-Broadway group and became its director, and
continued directing in
Summer stock
theatre, while teaching acting at the High School of
Professional Arts.
Personal life
His first wife was actress
Rita Gam
(1949-54); his second, was socialite
Gloria Vanderbilt (1956-63); his third,
Gail Jones (1963-78), who was the daughter of singer-actress
Lena Horne; and his fourth marriage was
to Mary Gimbel (1980 - present). His marriage to Gail Jones
produced two daughters, Amy, who was married briefly (1990-1993) to
P.J. O'Rourke, and actress/screenwriter
Jenny who had a leading role in his film
Q & A. She also wrote
the screenplay for the 2008 film
Rachel Getting Married.
Career in directing
Early career
Lumet began his career as a director with
Off-Broadway productions and then evolved into
a highly respected TV director. After gaining valuable experience
working
Off-Broadway and in summer
stock, he began to direct in the new medium of television in 1950,
after working as an assistant to friend and then-directory
Yul Brynner. He soon developed a "lightning
quick" method for shooting due to the high turnover required by
television. As a result, while working for
CBS he directed
hundreds of episodes of "Danger" (1950-55), "I Remember Mama"
(1948-1957), and "You Are There" (1953-57), a weekly series which
co-starred
Walter Cronkite in one of
his earliest leading roles. He chose Cronkite for the role of
anchorman "because the premise of the show was so silly, was so
outrageous, that we needed somebody with the most American,
homespun, warm ease about him," Lumet said.
He also directed original plays for "Playhouse 90," "Kraft
Television Theatre" and "Studio One," filming around 200 episodes,
which established him as "one of the most prolific and respected
directors in the business," according to
TCM. His
abilities to work quickly while shooting carried over to his film
career. Because the quality of many of the television dramas was so
impressive, several of them were later adapted as motion
pictures.
His first movie was typical of his best work: "a well-acted,
tightly written, deeply considered 'problem picture,'
12 Angry Men (1957)." Writes
film historian Stephen Bowles, "
Twelve Angry Men was an
auspicious beginning for Lumet. It was a critical and commercial
success and established Lumet as a director skilled at adapting
theatrical properties to motion pictures. Fully half of Lumet's
complement of films have originated in the theater.
As a result of directing
Twelve Angry Men, "he led the
first wave of directors who made a successful transition from TV to
movies." He then divided his energies among other idealistic
problem pictures, adaptations of plays and novels, big stylish
pictures, tense melodramas, and New York-based black comedies
dealing with society and American culture. A controversial TV show
he directed in 1960 gained him notoriety:
The Sacco-Vanzetti Story on NBC; According
to the
NY Times, "the drama drew flack from the state of
Massachusetts (where Nicola Sacco and Bartolomeo Vanzetti were
tried and executed) because it was thought to postulate that the
condemned murderers were, in fact, wholly innocent. But the
brouhaha actually did Lumet more good than harm, sending several
prestigious film assignments his way.
He soon began by adapting classic plays for both film and
television. In 1959, he directed
Marlon
Brando and
Joanne Woodward in
The Fugitive Kind, based on the
Tennessee Williams play "
Orpheus Descending." He later directed a
live television version of
Eugene
O'Neill's
The Iceman
Cometh, which was followed by his 1962 film,
A View
From the Bridge, another psychological drama play written by
Arthur Miller. This was followed by
another Eugene O'Neill play turned to cinema,
Long Day's
Journey Into Night, in 1962, with
Katharine Hepburn gaining an Oscar
nomination for her role. It was also voted one of the year's "Ten
Best Films" by the
New York Times.
Directing style and subjects
Lumet believes that movies are an art, and this was where his
interest in the medium and his ambitions for it began, and once
stated that "The amount of attention paid to movies is directly
related to pictures of quality." Because he started his career as
an actor, he has become known as an "actor's director," and he has
worked with the best of them over the years, a roster probably
unequaled by any other director." According to film historians
Gerald Mast and Bruce Kawin, Lumet’s "sensitivity to actors and to
the rhythms of the city have made him America’s longest-lived
descendant of the 1950s
Neorealist
tradition and its urgent commitment to
ethical responsibility." They cite his early film
The Hill (1965) as "one of
the most politically and morally radical films of the 1960s."
They add that beneath the social conflicts of Lumet’s films lies
the "conviction that love and reason will eventually prevail in
human affairs," and that "law and justice will eventually be served
– or not.” His debut film,
Twelve Angry Men, was an
acclaimed picture in its day: it was a model for liberal reason and
fellowship in the
Eisenhower
era; or maybe it was an alarming example of how easily any jury
could be swayed.” The film and its director were nominated for
Academy Awards.
Lumet won the Director’s
Guild
Award and the film was widely praised by
critics.
The
Encyclopedia of World Biography states that his films
often feature actors who studied "
Method
acting", "characterized by an earthy, introspective style. A
leading example of such "Method" actors would be
Al Pacino, who, early in his career, studied under
Method acting guru
Lee Strasberg.
Lumet also prefers the appearance of spontaneity in both his actors
and settings, an "improvisational look achieved by shooting much of
his work on location."
Rehearsal and preparation
Lumet is a strong believer in rehearsal, and feels that if you
rehearse correctly the actor won't lose spontaneity. According to
acting author Ian Bernard, he feels that it gives actors the
"entire arc of the role," which gives them the freedom to find that
"magical accident." Director
Peter
Bogdanovich asked him whether he rehearses extensively before
shooting, and Lumet replied "I like to rehearse a minimum of two
weeks before I shoot."
He was able to prepare and execute a production in rapid order,
allowing him to consistently stay within a modest budget. When
filming
Prince of the City, for example, although there
were over 130 speaking roles and 135 different locations, he was
able to coordinate the entire shoot in fifty-two days. As a result,
write historians Charles Harpole and Thomas Schatz, performers were
eager to work with him as they considered him to be an "outstanding
director of actors." And they note that "whereas many directors
disliked rehearsals or advising actors on how to build their
character, Lumet excelled at both." As a result, he was able to
give his performers a cinematic showcase for their abilities and
help them deepen their acting contribution.
Joanna Rapf, writing about the filming of
The Verdict,
states that Lumet gives a lot of personal attention to his actors,
"listening to them, touching them." She describes how Lumet and
star
Paul Newman sat on a bench secluded
from the main set, where Newman had taken his shoes off, in order
to privately discuss an important scene about to be shot. . . . The
actors walk through their scenes before the camera rolls. Lumet
likes to shoot a scene in one take, two at the most. "I call him
Speedy Gonzales, the only man I know who'll double-park in front of
a whorehouse," kids Paul Newman privately. "He's arrogant about not
shooting more than he has to. He doesn't give himself any
protection. I know I would," Newman adds.
Actor
Christopher Reeve, who
co-starred in
Deathtrap, said
that Lumet "knows how to talk technical language—if you want to
work that way—he knows how to talk Method, he knows how to
improvise, and he does it all equally well."
Character development
According to biographer Joanna Rapf, Lumet has always been an
"independent director," and liked to make films about "men who
summon courage to challenge the system, about the little guy
against the system." This also includes the women characters in his
films, such as
Garbo Talks. "
Anne
Bancroft embodies the kind of character to whom Lumet is
attracted: a committed activist for all kinds of causes, who stands
up for the rights of the oppressed, who is lively, outspoken,
courageous, who refuses to conform for the sake of convenience, and
whose understanding of life allows her to die with dignity....
Garbo Talks in many ways is a valentine to New
York."
Throughout a 2006 interview, he reiterated that "he is fascinated
by the human cost involved in following passions and commitments,
and the cost those passions and commitments inflict on others."
This theme is at the "core" of most of his movies, notes Rapf,
"including his stories of corruption in the New York police
department and family dramas such as in
Daniel.
Psychodramas
According to film historian Stephen Bowles, he has proven himself
"most comfortable and effective as a director of serious
psychodramas and was most vulnerable when attempting light
entertainments. His Academy Award nominations, for example, have
all been for character studies of men in crisis, from his first
film,
Twelve Angry Men, to
The Verdict. Lumet
was, literally, a child of the drama." He notes that "nearly all
the characters in Lumet's gallery are driven by obsessions or
passions that range from the pursuit of justice, honesty, and truth
to the clutches of jealousy, memory, or guilt. It is not so much
the object of their fixations but the obsessive condition itself
that intrigues Lumet."
Therefore, Bowles adds, "Lumet's protagonists tend to be isolated,
unexceptional men who oppose a group or institution. Whether the
protagonist is a member of a jury or party to a bungled robbery, he
follows his instincts and intuition in an effort to find solutions.
Lumet's most important criterion is not whether the actions of
these men are right or wrong but whether the actions are genuine.
If these actions are justified by the individual's conscience, this
gives his heroes uncommon strength and courage to endure the
pressures, abuses, and injustices of others. Frank Serpico, for
example, is the quintessential Lumet hero in his defiance of peer
group authority and the assertion of his own code of moral values."
Lumet in his autobiography described the film
Serpico as "a portrait of a real rebel with a
cause."
Issues of social justice
According to
Turner Classic
Movies, "it was the social realism which permeated his
greatest work that truly defined Lumet — the themes of youthful
idealism beaten down by corruption and the hopelessness of inept
social institutions allowed him to produce several trenchant and
potent films that no other director could have made."
Serpico (1973), was the first of four "seminal" films he
made in the 1970s that marked him as "one of the greatest
filmmakers of his generation." It was the story of power and
betrayal in the New York City police force, and was coupled with
the "idea that innocence is lost in the face of corruption." The
movie became a blueprint that Lumet would use to portray the inner
world of cops, lawyers and street criminals, with only an
"idealistic lone wolf battling seemingly impossible odds."
"As a child of the Depression," writes Joanna Rapf, "growing up
poor in New York City with poverty and corruption all around him,
Lumet became concerned with the importance of justice to a
democracy. He says he likes questioning things, people,
institutions, what is considered by society as 'right' and
'wrong.'" He admits, however, that he does not believe that art
itself has the power to change anything. "There is, as he says, a
lot of 'shit' to deal with in the entertainment industry, but the
secret of good work is to maintain your honesty and your
passion."
Film historian David Thomson writes "He has steady themes: the
fragility of justice, and the police and their corruption.". He
adds, "Lumet quickly became esteemed…[and he] got a habit for big
issues –
Fail-Safe, The Pawnbroker, The
Hill, – and seemed torn between dullness and pathos. …
Network …was the closest he had come to a successful
comedy. He was that rarity of the 1970s, a director happy to serve
his material—yet seemingly not touched or changed by it."
Lumet, discussing one of his primary film subjects, police
corruption, described his feelings for film magazine,
Cinema
Nation:
- "I have just finished a movie called Prince of the City. It’s a long, complex
film and one of the most difficult and satisfying movies I’ve ever
made. It’s about a cop informing on other cops. . . [It’s] not only
about informing, however. It is also about cops and the complexity
of their lives. I’ve known a lot of cops, most of whom join the
force with a good deal of idealism. They wind up with the highest
suicide and alcoholism rates of any profession."
New York settings
Lumet
always prefers to work in New York
, notes Lumet
biographer Joanna Rapf, "shunning the dominance of
Hollywood. By refusing to "go Hollywood," he soon became
strongly identified with New York and filmed the majority of his
films there. Like
Woody Allen, he
defines himself as a New Yorker. "I always like being in Woody
Allen's world," he said. He claims "the diversity of the City, its
many ethnic neighborhoods, its art and its crime, its
sophistication and its corruption, its beauty and its ugliness, all
feed into what inspires him." He feels that in order to create it's
important to confront reality on a daily basis. For Lumet, "New
York is filled with reality; Hollywood is a fantasyland."
He used New York time and again as the backdrop—if not the
symbol—of his "preoccupation with America’s decline," according to
film historians Scott and Barbara Siegel. In discussing the
significance of urban settings to Lumet, Bowles notes, "Within this
context, Lumet is consistently attracted to situations in which
crime provides the occasion for a group of characters to come
together. Typically these characters are caught in a vortex of
events they can neither understand nor control but which they must
work to resolve."
In a 2007 interview with
New York
Magazine, he was asked, "Almost all of your films—from
The Pawnbroker to your latest—have an intense level of
that famous New York grit. Is being streetwise really such a
difference between us and Hollywood?" Lumet replied: "In L.A.,
there’s no streets! No sense of a neighborhood! They talk about us
not knowing who lives in the same apartment complex as us—bullshit!
I know who lives in my building. In L.A., how much can you really
find out about anybody else? ... Really, it’s just about human
contact. It seems to me that our greatest problems today are coming
out of the increasing isolation of people, everywhere."
Directing techniques
Lumet has always preferred naturalism and/or realism, according to
Joanna Rapf. He does not like the "decorator's look"; rarely does
he want "the camera to call attention to itself; the editing must
be unobtrusive." His cinematographer, Ron Fortunato, said "Sidney
flips if he sees a look that's too artsy."
Partly because he has been willing and able to take on so many
significant social issues and problems, "he can deliver powerhouse
performances from lead actors, and fine work from character
actors," writes film historian Thomson. He is "one of the stalwart
figures of New York moviemaking. He abides by good scripts, when he
gets them."
According to Katz's
Film Encyclopedia, “Although critical
evaluation of Lumet’s work wavered widely from film to film, on the
whole the director’s body of work has been held in high esteem.
Critical opinion has generally viewed him as a sensitive and
intelligent director who possesses considerable good taste, the
courage to experiment with a variety of techniques and styles, and
an uncommon gift for handling actors."
In a quote from his book, Lumet emphasized the logistics of
directing:
- "Someone once asked me what making a movie was like. I said it
was like making a mosaic. Each setup is like a tiny tile (a setup,
the basic component of a film’s production, consists of one camera
position and its associated lighting). You color it, shape it,
polish it as best you can. You’ll do six or seven hundred of these,
maybe a thousand. (There can easily be that many setups in a
movie.) Then you literally paste them together and hope it’s what
you set out to do."
In 1970, Lumet said, “If you’re a director, then you’ve got to
direct…. I don’t believe that you should sit back and wait until
circumstances are perfect before you and it’s all gorgeous and
marvelous…. I never did a picture because I was hungry…. Every
picture I did was an active, believable, passionate wish. Every
picture I did I wanted to do…. I’m having a good time.”
Lumet, in a statement posted on IMDB, said, “If I don't have a
script I adore, I do one I like. If I don't have one I like, I do
one that has an actor I like or that presents some technical
challenge.”
Vision of future films
In the same interview with
NY Magazine, when asked what he
foresaw as the next wave of filmmaking, he responded, "Well, we
were shooting out in Astoria, and one day I was watching all these
kids standing outside a school near the studio. It was just
marvelous: Indian girls in saris, kids from Pakistan, Korea, kids
from all over. So I think you’ll see more directors from these
communities, telling their stories. You know, I started out making
films about Jews and Italians and Irish because I didn’t know
anything else."
Legacy
According to film historian Bowles, Lumet has succeeded in becoming
a leading drama filmmaker partly because "his most important
criterion [when directing] is not whether the actions of his
protagonists are right or wrong, but whether their actions are
genuine." And where those actions are "justified by the
individual's conscience, this gives his heroes uncommon strength
and courage to endure the pressures, abuses, and injustices of
others." His films have thereby continually given us the
"quintessential hero acting in defiance of peer group authority and
asserting his own code of moral values."
Lumet's published memoir about his life in film,
Making
Movies (1996), is "extremely lighthearted and infectious in
its enthusiasm for the craft of moviemaking itself," writes Bowles,
"and is in marked contrast to the tone and style of most of his
films. Perhaps Lumet's signature as a director is his work with
actors—and his exceptional ability to draw high-quality, sometimes
extraordinary performances from even the most unexpected quarters"
Jake Coyle, Associated Press writer, agrees: "While Lumet has for
years gone relatively underappreciated, actors have consistently
turned in some of their most memorable performances under his
stewardship. From
Katharine
Hepburn to
Faye Dunaway,
Henry Fonda to
Paul
Newman, Lumet was known as an actor's director."
Academy of
Motion Pictures President
Frank
Pierson said, "Lumet is one of the most important film
directors in the history of American cinema, and his work has left
an indelible mark on both audiences and the history of film
itself." And James Verniere, of the
Boston Herald wrote,
"At a time when the American film industry is intent on seeing how
low it can go, Sidney Lumet remains a master of the morally complex
American drama."
Film author Joanna Rapf, completing her interviews with Lumet in
2006, wrote, "Still intensely energetic, youthful, and passionate
about life, ... [he seeks out] 'real' people, and 'real'
situations, and the stories he can tell about them, 'human, honest
and occasionally illustrative of some major point about
living."
- Quotes by others
- "Would that there were more true heroes willing to stand up to
the absurd received thinking in Hollywood regarding scripts,
casting and storytelling." -- Craig
Lucas (Screenwriter)
- "What amazes me about Lumet is his enduring intellectual vigor.
While most of the other lions of the '70s were taking paychecks for
commercial flotsam in the ‘80s and ‘90s, Lumet was still making
movies with social ambition: Prince of the City, The
Verdict, Running on Empty, Q&A,
Night Falls on Manhattan... he never stopped looking for
stories about flaws in the human condition. Few have mastered the
medium as well as Lumet, and here’s the best part: he ain’t done
yet." -- Jack Mathews (Film critic, New York Daily News)
- "Lumet has brought you so completely into the world and
point-of-view of the main characters that you understand and accept
it all. He's one of the few directors who can blur the line between
the everyday insanity we encounter and the over-the-top
possibilities of drama, showing that there's not always a
difference. Gregg Goldstein (Journalist, The Hollywood Reporter)
- "Though he’s made films in Europe and Hollywood, Sidney Lumet
is the heart and soul of New York City filmmaking. ... I greatly
respect that he’s almost always made movies for audiences, not for
the critics. Lou Lumenick (Chief film critic, New York Post)
- "...the thing that is the most special about Lumet is his
taste. He finds the most extraordinary writing and then gets actors
who will be challenged to do career-best work in it—really
image-changing work from Paul Newman,
Al Pacino, Treat
Williams, Nick Nolte, Faye Dunaway, Bill
Holden, Ned Beatty, Rod Steiger, Dustin
Hoffman, Vin Diesel, Philip Seymour Hoffman, Marisa Tomei and many others. And that doesn't
touch the simply amazing performances and ensemble work in films of
real substance that he has chosen to make." -- David Poland
(Editor, Movie City News)
- "... I doubt that anyone else will soon supplant him. He is the
master of cinematic pressure-cooking; in 12 Angry Men,
Failsafe, The Hill, Murder on the Orient
Express, Dog Day Afternoon, Network,
Equus, and on and on, he takes his characters hostage,
placing a group of particular people under duress in a confined
space as the clock ticks—always with a surprisingly cathartic
result. And the man is still working. Amazing! Lee, TheReeler - NY City Cinema
Filmography
| Year |
Film title |
Leading cast |
Watch clips |
| 1957 |
12 Angry
Men |
Henry Fonda, Lee J. Cobb |
trailer. |
| 1958 |
Stage Struck |
Henry Fonda, Susan Strasberg |
. |
| 1959 |
That Kind of
Woman |
Sophia Loren, Tab Hunter . |
. |
| The Fugitive
Kind |
Marlon Brando, Joanne Woodward,
Anna Magnani
|
scene |
| 1961 |
A View from the
Bridge |
Raf Vallone, Jean Sorel . |
. |
| 1962 |
Long
Day's Journey Into Night |
Katharine Hepburn, Ralph Richardson,
Jason Robards
|
scene |
| 1964 |
The
Pawnbroker |
Rod Steiger, Geraldine Fitzgerald |
scene |
| Fail-Safe |
Henry Fonda, Dan O'Herlihy,
Walter Matthau
|
scene |
| 1965 |
The Hill |
Sean Connery, Harry Andrews |
trailer |
| 1966 |
The Group |
Candice Bergen, Joan Hackett |
. |
| 1967 |
The Deadly
Affair |
James Mason, Harry Andrews |
scene |
| 1968 |
Bye Bye
Braverman |
George Segal, Jack Warden |
. |
| The Sea Gull |
Vanessa Redgrave, Simone Signoret |
. |
| 1969 |
The Appointment |
Omar Sharif, Anouk Aimée |
. |
| 1970 |
King: A Filmed
Record...
Montgomery to Memphis |
Narration: Paul Newman, Joanne Woodward |
. |
| Last of the Mobile
Hot Shots |
Lynn Redgrave, James Coburn |
. |
| 1971 |
The Anderson
Tapes |
Sean Connery, Dyan Cannon,
Martin Balsam
|
trailer |
| 1972 |
Child's
Play |
James Mason, Robert Preston |
. |
| The Offence |
Sean Connery, Trevor Howard |
. |
| 1973 |
Serpico |
Al Pacino |
trailer |
| 1974 |
Lovin' Molly |
Anthony Perkins, Beau Bridges |
. |
| Murder
on the Orient Express |
Albert Finney, Lauren Bacall,
Sean Connery, Ingrid Bergman
|
scene |
| 1975 |
Dog Day
Afternoon |
Al Pacino, John
Cazale |
trailer |
| 1976 |
Network |
Faye Dunaway, William Holden,
Peter Finch, Robert Duvall, Ned
Beatty
|
scene 1
scene 2
|
| 1977 |
Equus |
Richard Burton |
trailer |
| 1978 |
The Wiz |
Diana Ross, Michael Jackson |
tribute |
| 1980 |
Just Tell Me What You
Want |
Alan King, Ali
MacGraw |
. |
| 1981 |
Prince of the
City |
Treat Williams, Jerry Orbach |
trailer |
| 1982 |
The Verdict |
Paul Newman, Jack Warden |
trailer
scene
|
| Deathtrap |
Michael Caine, Christopher Reeve,
Dyan Cannon
|
. |
| 1983 |
Daniel |
Timothy Hutton, Mandy Patinkin |
scene |
| 1984 |
Garbo Talks |
Anne Bancroft, Ron Silver |
scene |
| 1986 |
Power |
Richard Gere, Julie Christie,
Gene Hackman
|
. |
| The Morning
After |
Jane Fonda, Jeff Bridges |
. |
| 1988 |
Running on
Empty |
River Phoenix, Judd Hirsch |
trailer |
| 1989 |
Family
Business |
Sean Connery, Dustin Hoffman |
scene |
| 1990 |
Q & A |
Timothy Hutton, Nick Nolte,
Armand Assante
|
scene
trailer
|
| 1992 |
A Stranger Among
Us |
Melanie Griffith, John Pankow |
. |
| 1993 |
Guilty as Sin |
Don Johnson, Rebecca De Mornay |
trailer |
| 1997 |
Night Falls on
Manhattan |
Andy Garcia, Ian
Holm,
Lena Olin, Richard Dreyfuss
|
trailer |
| Critical Care |
James Spader, Kyra Sedgwick |
. |
| 1999 |
Gloria |
Sharon Stone, George C. Scott |
scene |
| 2004 |
Strip Search |
Glenn Close, Maggie Gyllenhaal |
. |
| 2006 |
Find Me Guilty |
Vin Diesel, Alex Rocco |
trailer |
| 2007 |
Before the
Devil Knows You're Dead |
Philip Seymour Hoffman,
Ethan Hawke,
Albert Finney
|
trailer |
| 2009 |
Getting Out [45030] |
. |
. |
|
Notes
- "TCM Biography"
- Bridge of Light (Yiddish Film Between Two Worlds), page
208, 209, J. Hoberman, Museum of Modern Art, Published by
Shocken Books, 1991, YIVO translations
- Katz, Ephraim. The Film Encyclopedia (1998) Harper
Collins, 856
- Filmreference.com[1]Sidney Lumet Biography
- Sidney Lumet biography on AMCTV.com. Accessed August
30, 2006.
- "Walter Cronkite - In Memoriam 1916 - 2009"
PBS, July 20, 2009
- Siegel, Scott and Barbara. The Encyclopedia of
Hollywood (2004) Checkmark Books, 256
- New York Times Movie Biographies [2]
- Harpole, Charles, and Schatz, Thomas. History of the
American Cinema: A New Pot of Gold, Simon and Schuster
(2000)
- Mast, Gerald, and Kawin, Bruce F. A Short History of the
Movies (2006) Pearson Education, Inc. 538
- "Sidney Lumet". Encyclopedia of World Biography,
(2004) Thomson Gale. [3]
- Bernard, Ian. Film and Television Acting: From Stage to
Screen, Focal Press (1998)
- Bowles, Stephen E. International Dictionary of Films and
Filmmakers, (2001) The Gale Group Inc.
- Thomson, David. “A Biographical Dictionary of Film” (1995)
Alfred A. Knopf, 459
- Lumet, Sidney. Cinema Nation (2000) Avalon Publishing,
pgs. 271 - 275
- Rapf, Joanna E. Sidney Lumet: Interviews, Univ. Press
of Mississippi (2006)
- "Dog Day Afternoons: Sidney Lumet," New York Magazine,
Sept. 24, 2007 [4]
- Lumet, Sidney. “Making Movies” (1996) Vintage Books, 58
- Coyle, Jack. AP Worldstream, February 28, 2005
- Academy of Motion Picture Arts and Sciences [5]
- Verniere, James. "Moral Complexity Remains Director Sidney
Lumet's Speciality," The Boston Herald, May 16, 1997
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