- AMERICAN MASTERS SIDNEY LUMET MOVIE
- AMERICAN MASTERS SIDNEY LUMET SERIES
- AMERICAN MASTERS SIDNEY LUMET TV
AMERICAN MASTERS SIDNEY LUMET TV
Even Lumet’s ’50s TV work had this quality in a way, his entire aesthetic can be linked back to the existential sensation of live television. president call on every fiber of his humanity to avert a nuclear war in “Fail Safe” (1964), or a bedraggled Pacino hoarsely declare his forbidden love in “Dog Day Afternoon” (1975), or Paul Newman give a jury summation that is really his own bid to crawl out of the muck in “The Verdict” (1982), or Philip Seymour Hoffman break down over his father in a tearful rage in “Before the Devil Knows You’re Dead” (2007): In each scene, we’re brought into a mesmerizing communion with the characters before us. It doesn’t matter whether you’re watching Ralph Richardson speak Eugene O’Neill’s gin-and-sadness-soaked dialogue from “Long Day’s Journey Into Night” (1962), or Marlon Brando and Anna Magnani give in to the desperation of tawdry erotic hunger in “The Fugitive Kind” (1960), or Fonda’s U.S. But the way the clips line up here, we see the psychodramatic depth charge that unites them.įrom first film to last, there’s a startling continuity of mood, rhythm, and no-frills visual intimacy. To me, early Lumet and ’70s Lumet have always seemed as different as early and late Beatles. But as I watched the scenes from Lumet’s films that Nancy Buirski, the director of “By Sidney Lumet,” has so artfully woven together, something I didn’t expect hit me with the force of revelation. The Henry Fonda character in “12 Angry Men,” say - the only holdout, in a jury room, for a verdict of innocent, who must convince his fellow jurors that there’s reasonable doubt - is an obvious precursor to a character like Frank Serpico: the lone-wolf cop as whistleblower. If you’re a Lumet fan, it’s tempting to track how his early black-and-white films from the ’50s and ’60s, when he emerged out of the first renaissance era of television, sync up thematically with his later work.
AMERICAN MASTERS SIDNEY LUMET MOVIE
The movie is simply Lumet and his films, which turns out to be an astonishingly satisfying experience, because he’s an incredible talker, with the same earthy electric push that powers his work. There are no other talking heads, no “Here’s what it was like to work with Sidney” anecdotes from Al Pacino or Faye Dunaway or Sean Connery or Ethan Hawke, no tales from movie executives (or harried cinematographers) about his legendary speedy work habits. It’s built around an extensive interview with Lumet that was recorded in 2008, three years before his death, and the filmmaker’s narration of his life and art is literally the only commentary in the movie. “By Sidney Lumet” creates a much more intimate focus. It’s no insult to the “American Masters” films, many of which are superb documents, to say that most of them have a formatted quality they are state-of-the-art versions of by-the-book biographical portraiture.
AMERICAN MASTERS SIDNEY LUMET SERIES
“By Sidney Lumet” is one of the rare documentaries produced for the “American Masters” series on PBS that is also receiving a theatrical release, and that may be because it’s different in kind. He made scene after scene a matter of life and death.
In film after film, he took human encounters (all kinds) and suffused them with a do-or-die intensity that seared the air. When he confesses that, it fills in something essential about the power of Lumet’s artistry. He says that if he had acted, he thinks those men might have tossed him off the train - that he would have been risking his life. (The rebel hero who is often at the center of his films may, in hindsight, be the person he wished he was.) Yet Lumet keeps circling back to the incident, and by the end he has revealed its deeper meaning. To any Lumet watcher, it’s obvious that the story fuses with themes that run through his work: the preoccupation with corruption, the moral necessity of action, the gnawing worm of guilt. Instead of acting, he simply let it happen. He knew the answer was yes, that he should try to stop this hideous crime, but he lacked the courage to do so. “Do I do anything about this?” he thought. He was a young man in the military, in Calcutta, when he saw that a group of his fellow soldiers were inside a train compartment sexually abusing a young girl. In “ By Sidney Lumet,” a documentary portrait of the late director who was one of the defining filmmakers of the ’70s - but whose ability to charge a scene with dark moral turbulence and excitement was right there, from his first feature, “12 Angry Men,” in 1957 - Lumet tells an extraordinarily candid story about an event that shaped and changed his entire worldview.
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