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Sidney Lumet, the real King of New York



Perhaps not as celebrated as Martin Scorsese, Steven Spielberg or Stanley Kubrick, Sidney Lumet was a prestigious, well-respected director of emotionally intense films with unorthodox protagonists. Many of Lumet’s movies are set in New York City, and the metropolis is almost a character itself in classics like The Pawnbroker (1965), Serpico (1973), Dog Day Afternoon (1975), Prince of the City (1981) and The Verdict (1982).

Lumet’s connection to New York stories began early; fittingly he was that most New York of characters – a Dead End Kid – in the original Broadway production. Lumet also acted in Yiddish theater and other Broadway productions before turning to directing. He cut his teeth during TV’s “Golden Age,” working behind the camera on many live CBS dramas during the 1950s.

Henry Fonda helped Lumet rework the teleplay Twelve Angry Men (1957) for the screen, and his first big screen effort was met with nominations for Best Picture and Best Director. He followed the classic jury drama with all-star theatrical screen adaptations of Tennessee Williams’ The Fugitive Kind (1960), Eugene O’Neill’s Long Day’s Journey Into Night (1962), and Arthur Miller’s A View From the Bridge (1962). He followed these with two compelling dramas: Fail-Safe (1964), a cold war cautionary tale; and The Pawnbroker (1965), with Rod Steiger as a haunted Holocaust survivor.

Anderson Tapes

Lumet hit a slump in the late Sixties, but bounced back with The Anderson Tapes (1971) and The Offence (1973), an intense look at police brutality that prefigured the riveting cop dramas to come. Several commercial successes followed, beginning with Al Pacino in Serpico (1973), then the Grand Hotelesque star-studded whodunit Murder on the Orient Express (1974). He showcased another sensational Pacino performance in Dog Day Afternoon (1975) and went on to make the prescient TV satire, Network (1976). Both classics garnered nominations for Best Picture and Director.

His subsequent films are a mixed bag, including the Motown alumni-rich musical The Wiz (1978) and another theatrical adaptation, Equus (1977). Then there was also the wry but less-than-successful sex comedy Just Tell Me What You Want (1980). He returned to familiar territory of past successes with the brilliant police corruption drama Prince of the City (1981) and with Paul Newman as a conflicted lawyer in The Verdict (1982). (For the latter Lumet again earned nominations for Best Picture and Director.) He went on to direct a thinly veiled account of the Rosenberg case, Daniel (1983); his first film shot in Hollywood, a romantic thriller called The Morning After (1986); and then a feature about underground 60s activists, Running on Empty (1988). Lumet’s exploration of a bigoted cop in Q &A (1990) marked a return to the gritty dramas he does so well.

Though recent years saw less successful crime films set in his beloved New York – Melanie Griffith in A Stranger Among Us (1992), Guilty as Sin (1993), and 1997’s Night Falls on Manhattan – in 1993 Lumet received the D.W. Griffith Award from the Directors Guild of America and in 2005 he won an Oscar lifetime achievement award for “brilliant services to screenwriters, performers, and the art of the motion picture.” His last movie was 2007’s Before The Devil Knows You’re Dead with Philip Seymour Hoffman and Albert Finney.

One a personal note, Lumet sadly died on 9 April 2011, he had two daughters and was wed four times, including marriage to Gloria Vanderbilt (yes, the Gloria Vanderbilt) and to Lena Horne’s daughter, Gail Jones.