| |
|
|
| Sidney
Lumet |
|
|
| Director
/ Screenwriter / Producer |
| 1924 - |
| Born June 25,
Philadelphia, Pennsylvania, USA |
| Key
Production Country: USA, UK |
|
Key Genres:
Drama, Police Drama, Courtroom Drama, Family Drama, Docudrama, Urban Drama,
Crime |
| Key
Collaborators:
Philip Rosenberg (Production Designer),
Boris Kaufman (Cinematographer), Andrzej
Bartkowiak (Cinematographer), Sean Connery (Leading Player), Ralph Rosenblum (Editor),
Tony Walton (Production Designer), Harry
Andrews (Leading Character Player), Oswald Morris (Cinematographer), Dede Allen (Editor), Quincy
Jones (Composer) |
| Highly
Recommended: 12 Angry Men (1957), Fail-Safe
(1964), Dog Day Afternoon (1975), The Verdict (1982) |
| Recommended: The
Hill (1965), Serpico (1973), Network (1976), Running on Empty (1988),
Before the Devil Knows You're Dead (2007) |
| Worth
a Look: The
Fugitive Kind (1959), The Pawnbroker (1965), The Offence (1972), Murder on the Orient Express
(1974), Equus (1977), Prince of the City (1981), Q&A (1990), Night
Falls on Manhattan (1996), Find Me Guilty (2006) |
| Links:
[ IMDB ] [
TCMDB ] [
All-Movie
Guide ] [
Film Reference ]
[ Sidney
Lumet: A Serious Voice in the American Cinema ] [ FilmForce
Featured Filmmaker ] [
New
York Mag Interview (2007) ] [ Hollywood
Reporter Article: Honorary Oscar ] [
Jam! Interview (2007) ] [
Telegraph Article (2008) ] [
Sight & Sound Article (2008)
] |
| Books:
[
Making
Movies ] [ Sidney
Lumet: Film and Literary Vision ] [ Sidney
Lumet ] [ Sidney
Lumet: Interviews ] [
Street Smart: The New York of Lumet, Allen, Scorsese, and Lee ] |
| DVD's:
[ Amazon
] |
| 1,000
Greatest Films: 12
Angry Men (1957), Dog Day Afternoon (1975), Network (1976),
The Verdict (1982) |
| |
    |
| |
| |
|
|
| |
"Although
Sidney Lumet has applied his talents to a variety of genres
(drama, comedy, satire, caper, romance, and even a musical), 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." -
Stephen E. Bowles (International Dictionary of Films and Filmmakers,
1991) |
|
| |
|
|
| |
"At its best,
Lumet's direction is efficiently vehicular but pleasantly
impersonal...When his subjects are responsible, as in Long
Day's Journey Into Night, his services are valuable. In most
other instances, only his innate good taste saves him from utter
mediocrity...Lumet shows no sign of ever rising above the
middle-brow aspirations of his projects to become the master
rather than the mimic of the current trend away from Hollywood.." -
Andrew
Sarris (The American Cinema, 1968) |
|
| |
|
|
| |
"This
American film-maker used to be my favourite director. I was
ecstatic over 12 Angry Men, impressed by The
Pawnbroker and trampled on by The Hill; and thought
The Deadly Affair about the best thriller of its decade.
Such worship makes it all the more difficult to be objective,
but I think disillusionment started about The Group, with
its ragbag of disparate elements which Lumet made, as with many
of his later films, so dislikeable as to alienate one from the
movie itself." - David
Quinlan (Quinlan's Film Directors, 1999) |
|
| |
|
|
| |
"Repression and its explosive effects have been explored by
Lumet. He makes social statements in comedies and dramas that
are unusually tense and pulsating." -
William R. Meyer (The Film Buff's Catalog, 1978) |
|
| |
|
|
| |
"For
any director with a little lucidity, masterpieces are films that
come to you by accident." -
Sidney Lumet |
|
| |
|
|
|
| |
| |
| |
|
