A tribute to Sidney Lumet: Natural realist

Written by Mark Schumann, Father of Three
Thursday, 14 April 2011 10:55

Each week, The Reel Dad talk about films that a family can enjoy together. This week he takes a look at the films of Sidney Lumet, the legendary director who died last weekend following a spectacular career filled with lasting movie experiences.

He brought a fresh realism to every film he created, always taking us on a compelling journey without letting us forget the world waiting outside. At times, this sharp view of reality could disturb, perhaps frighten, but would always entertain. And with his death over the weekend at age 87, Sidney Lumet leaves a lasting collection of films, each portraying a real world in a slightly exaggerated but memorable way. Thanks to DVDs, we can introduce our families to this most unique director. Here are a few of his best.

Twelve Angry Men (1957). After developing his directing craft on live television — with memorable credits on The U.S. Steel Hour and The Alcoa Hour — Lumet scores a major movie hit with this sterling adaptation of, coincidentally, a television drama. Henry Fonda delivers a subtle, heartfelt performance as a juror who simply can’t believe that guilt is easy to assess.

Long Day’s Journey Into Night (1962). Eugene O’Neill’s classic stage drama could be, in lesser hands, an over-the-top family drama in this screen adaptation. But Lumet, displaying a sensitivity found in most of his films, underplays the histrionics by focusing on the emotional tragedy of the dysfunctional family relationships. Katherine Hepburn and Jason Robards offer what may be the finest performances of their careers.

Serpico (1973). Lumet hits his stride in the 1970s, first scoring a critical and audience triumph with this gritty story of police corruption in New York City. He captures the underside of the city in a way few directors are willing to explore — especially in the Manhattan of the 1970s — and pushes Al Pacino to achieve a natural spontaneity that sets the standard for his future screen portrayals.

Murder on the Orient Express (1974). As if trying to say, “and you think you have me figured,” Lumet creates an entirely different world a year later with this highly entertaining adaptation of the Agatha Christie novel. He invents a new Hollywood staple — the all-star murder mystery — and has a rollicking good time with such luminaries as Ingrid Bergman (who captures her third Oscar), Lauren Bacall (who steals every scene she is in) and a fabulous Albert Finney as detective Hercule Poirot.

Dog Day Afternoon (1975). Of all the films in Lumet’s collection, perhaps none better survives the test of time than this complicated tale of robbery, individual freedom and personal commitment. Lumet makes us feel the heat of the long day’s humidity and captures another naturally real portrayal from Al Pacino as a criminal with a heart of gold but a bizarre manner of expression.

Network (1977). Today, this futuristic view of the world of television looks all too real, as if Lumet is shooting from a time machine. How dare he, and screen writer Paddy Chayefsky, imagine such realities as news broadcasts that try to entertain, reality shows starring actual people and events, and anchors who prefer to make news than report. Peter Finch, Faye Dunaway and Beatrice Straight turn in indelible performances that win well-deserved Oscars.

The Verdict (1982). Rarely does a director capture the essence of an actor’s skill as Lumet does with Paul Newman in this moving exploration of a lawyer’s professional and personal struggles. Newman is touching, funny and heartbreaking in a performance filled with nuance and range. That he would lose the Oscar to Ben Kingsley’s one-dimensional impersonation of Gandhi is one of many Academy mysteries.

Find out why buy viagra online without prescription , and much more. The meds you need cheap kamagra ,The Lowest Prise! Here you can buy abilify online at low cost.