SATURDAY SPECIAL: A Salute To Sidney Lumet

Today we lost one of the greats: the gentle giant of directors, Sidney Lumet. What a resume! Just to pick seven of perhaps the best known of the bunch, the bunch in question being over 100 titles strong: 12 ANGRY MEN, LONG DAY'S JOURNEY INTO NIGHT, SERPICO, DOG DAY AFTERNOON, NETWORK and BEFORE THE DEVIL KNOWS YOU'RE DEAD - the films spanning fifty years from MEN in 1957 and DEVIL in 2007 - it is clear to see why Lumet was one of the most cherished and celebrated directors in Hollywood, especially known for his tough, gritty New York stories and his pristine stage-to-screen transfers. For an excellent example of the latter (in addition to LONG DAY'S JOURNEY and the others) check out DEATHTRAP - based on Ira Levin's play, the longest-running thriller in Broadway history - featuring Michael Caine in one of his best roles and Christopher Reeve and Dyan Cannon in their finest performances on film. For an example of the former genre, look no further than NETWORK, containing one of the strongest screenplays ever penned, from the fiery and ferocious pen of Paddy Cheyefsky, and Faye Dunaway in her Oscar-winning performance for all the ages. As far as theatrical screenplays on screen, Lumet would be hard-pressed to even come close to the power, prescience and transformative brilliance at the core of the conceit of that film - yet he did just that; with his final, 2007 film no less. I am speaking, of course, of the underrated and riveting BEFORE THE DEVIL KNOWS YOU'RE DEAD starring Philip Seymour Hoffman, Ethan Hawke, Marisa Tomei, with Albert Finney and RoseMary Harris. Taking an original screenplay that could just as well have been written for the stage - shades of 12 ANGRY MEN, DOG DAY AFTERNOON, NETWORK and SERPICO, certainly - Lumet made a bristling, biting brilliant work of staggering craft and ingenuity - all with verve, energy and drive of a man a quarter of his age at the time (80). His films were classics in his own time and, now, in his passing, they are just as timeless - if not more so. With each passing year, new layers of truth, beauty, sadness and soulfulness can be found in the countless frames in the innumerable unforgettable scenes in his many masterpieces.

PART I: The 1950s & 1960s

Starting in the early 50s with directing television when it was essentially theatre-on-film - that is, live and scripted; particularly as opposed to the canned reality dreck of today - with a phenomenal series of entries in the 1954-1955 BEST OF BROADWAY series, in which he cut his teeth guiding the very best talents in some of the finest plays - among them: STAGE DOOR and THE PHILADELPHIA STORY; as well as SCHOOL FOR WIVES for OMNIBUS and THE SENTRY for GOODYEAR PLAYHOUSE in 1956 and 1957, respectively - he soon thereafter moved into feature film directing with the blustery bite implicit in 12 ANGRY MEN. See Henry Fonda, Lee J. Cobb and the rest of the starry ensemble of this searing courtroom drama that still "cuts like a knife" more than fifty years after its release in the trailer here.

The 1958 television version of Robert Penn Warren's ALL THE KING'S MEN came next, starring Neville Brand and Frank Conroy, and Lumet continued contributing considerably well-crafted television films for the rest of the decade and into the early 60s, with, among the most notable: the two-part SACCO-VANZETTI STORY, still shown in college history classes to this day thanks to its acute accuracy to the actual case; a series of Tennessee Williams television premieres, including THIS PROPERTY IS CONDEMNED and THE LAST OF MY SOLID GOLD WATCHES; as well as THE HIDING PLACE for PLAYHOUSE 90, THE COUNT OF MONTE CRISTO for THE DUPONT SHOW OF THE MONTH and MR. BROADWAY for the small screen and big screen. The most prized of this portion of Lumet's simply astounding career trajectory came with his near-perfect adaptation of Eugene O'Neill's THE ICEMAN COMETH starring Jason Robards in perhaps his very best performance on film (right up there with MAGNOLIA, at least). Watch Robards tear the stage, screen and hearts apart with his Act IV monologue. You'll never forget it - and that's Lumet at his best.

Then came Lumet's feature films. I could just stop writing right now and embed all the trailers for all the films he did from 1960 on and that would speak volumes for the artistry and joy with which Lumet imbued each and every project he took on. Every one. And, what a way to start! If 12 ANGRY MEN and the stunning television films weren't proof-positive that Lumet was the real deal - well, LONG DAY'S JOURNEY INTO NIGHT sure as hell did. Working again with his O'Neill muse Robards, as well as Katharine Hepburn in an Oscar-winning performance (probably one of her best, if we're keeping count), as well as Ralph Richardson and Dean Stockwell, it is elementary to simply state that O'Neill has never been done better onscreen, before or since. Sample the sights and sounds - and screams - here, with the infamous Act IV Mad Scene. Lumet followed up the classical O'Neill tragedy with a modern-day thriller set in airports and airplanes starring Henry Fonda and Walter Matthau, the highly-respected (and rightfully so) FAIL-SAFE. A whole sub-genre was born with this film, and it holds up shocking well even today (despite the admittedly goofy technology). Watch the trailer here.

One of Lumet's least-seen but most powerful films - and a noted favorite of many of his fellow A-list directors - is the World War II prison drama THE HILL. Starring Sean Connery in his best performance besides THE UNTOUCHABLES (and even then…), THE HILL is gritty, down-and-dirty Lumet at his most cinema verite and bare-bones. The spirit, soul and drama shine through - even in the trailer. See it here.

Taking on Chekhov's masterpiece THE SEA GULL a few years later, with a cast including James Mason and Vanessa Redgrave, was Lumet's next prestige project - and what gob smacking prestige! There are no pretensions here, though -- and there surely could have been, given the highbrow source material. While the translation is not all it could have been, Lumet focuses his actors as only he can and gets natural, nuanced performances that could have otherwise been arch and over-the-top given the content of the play, particularly the nubile Redgrave in an outstanding iteration of Nina, the woman who always wears black because she is "mourning her life". Lumet's films, more than seemingly any other director of his era, coerce one to do just the opposite - celebrate it for everything it is worth, every single day. Let the celebration begin with this beauty from 1968. More information on the rare film can be found here, since the trailer isn't even on YouTube (yet).

http://www.imdb.com/title/tt0063569/

Working again with Sean Connery, next check out the trailer for the trippy 1971 film THE ANDERSON TAPES. They don't make them quite like this anymore - thrillers, sound effects, musical scores, visuals, hairstyles, clothes OR trailers! Don't miss a young and hot Dyan Cannon with an unbelievably non-PC statement in the trailer! From Chekhov to light, campy comedy as only Lumet could do!

PART II: The 1970s

Now, the classic films of the 1970s. What can be said about SERPICO that hasn't been said? Al Pacino just lights up the screen and the story of a cop out to do the right thing - no matter what the cost - is matched perfectly by the seamy underbelly of mid-70s New York. Pacino's performance is perfect in every single way. A stunning achievement in storytelling, character and cinematographic scenery. This is one of the great American films of all time for a reason.

Beat this cast for MURDER ON THE ORIENT EXPRESS - I triple dare you! Albert Finney, Ingrid Berman (in her Oscar-winning role), Lauren Bacall, Jacqueline Bisset, Sean Connery, Anthony Perkins, Richard Widmark and Michael York. See what I mean? Check out the super-chic trailer here.

Now, for fun, beat this hilariously apt theme song set to scenes from the film.

The three films that Lumet followed EXPRESS up with are the most solid proof that he was probably the most versatile director of the 1970s and one of the most chameleon-like characters Hollywood has ever seen acting behind the camera. The titles of these films alone pretty much say it all.

First, DOG DAY AFTERNOON. Pacino, as good as he was in SERPICO, portrays one the screen's most iconic bank robbers in this idiosyncratic film featuring John Cazale in his greatest performance (and they are all divine) outside of the GODFATHER films, and Chris Sarandon in a role you cannot help but be moved by. Progressive beyond its years is only one of the many things this genius accomplishment in filmmaking - and character study - accomplishes by the final showdown. This film has it all - plus, "Attica! Attica!"

Next came the film many will cite in his obituary as "the one", but in a career containing this many masterpieces how can one even chose one? Hell, I was hard-pressed to choose just seven! Yet, here it is, the film that predicted not only the downfall of solid entertainment on television into the muck and mire of sensationalism, but it also revealed that the greed and ambition of the late-70s would give way to the all-out financial free-for-all of the 1980s - and the free-fall of the Depression today; I am speaking of none other than 1976's landmark NETWORK. Paddy Cheyefsky's script won an Oscar and stands as one of a handful of the finest original screenplays ever written. "I'm mad as hell and I'm not going to take this anymore!"

The tremendous triptych of 70s masterworks concludes with the 1977 adaptation of Peter Shaffer's EQUUS. A problematic play if there ever were any - at least insofar as to how to translate it to a literal medium, let alone a feature film - Lumet showed once again that he was the most theatrically adept showman outside of Fosse in film-land with this ruminative and resplendent cinematic achievement. Richard Burton, one of the world's greatest actors, stage and screen, has rarely been better than he is here. WARNING: contains very controversial subject matter and nudity.

Even when dealing with the very best in the business - and Lumet certainly fits that bill - you can't strike gold every single time. Sometimes you can't even strike sterling silver. Or aluminum. Or tin. Yet, it is a beloved film by people of all ages thanks to the timeless story and hummable songs. It is what it is, and what it is is THE WIZ. Watch the psychedelic preview trailer here.

https://www.youtube.com/embed?v=DnrP-4LVhgU

PART III: The 1980s

Lumet hit another hot streak in the early 80s with a string of commercially and critically successful films, each one displaying a new side of his personality and each with their own style and tone oh-so-carefully calibrated to the core of each of the stories being told. I am speaking, of course, of PRINCE OF THE CITY, DEATHTRAP and THE VERDICT.

In a screenplay by CABARET scribe Jay Presson Allen, Lumet's 1981 feature PRINCE OF THE CITY is beloved by many fans of cop procedural thrillers to this day for many reasons, first and foremost being the resplendent performances of Treat Williams and Jerry Orbach - long, long before LAW & ORDER. Plus, who does gritty 70s-era Times Square better than Lumet? Nobody, that's who - and, now, sadly, no one ever will.

Utilizing an up-and-coming playwright that Lumet sensed had a gift for syntax and dialogue - and, boy oh boy, was he spot-on - for the screenplay, David Mamet, Lumet steered Paul Newman in the direction of Oscar gold with this depressing, sorrowful tale of an alcoholic lawyer on the brink of sanity - and brotherhood; and manhood, for that matter.

One of my favorite Lumet films, and the one that is perhaps the most outwardly theatrical of any of his post-1969, is Ira Levin's DEATHTRAIP. Michael Caine is so delicious in this film - and so dastardly and devilish, to boot - and Christopher Reeve looks like the angel Gabriel come to earth. What a combination! Add in Dyan Cannon at her harried and hilarious best and it's a pure delight. This is how you adapt a stage play to the screen - it is a master class in that and so very much more. One hundred viewings in and you'll be dying for a one-hundred-and-first! Here's the trailer, but if you haven't seen the film don't watch it - you'll thank me later.

Though there are many more wonderful performances and surprising choices in Lumet's career, THE MORNING AFTER has some of the very best. Who but Lumet would make a film like this? Who but Lumet would get a cast as diverse as Jane Fonda, Jeff Bridges and Raul Julia? It works like gangbusters, whatever the reason - though, maybe, it shouldn't! It just goes to show that Lumet can even keep a soufflé light and enjoyable with the right ingredients and heat. And, wow, is this cast on fire! Scorching hot.

Watch Lumet discuss the film in a fun and revealing 1986 interview here.

PART IV: The 1990s & 2000s

While the 1990s weren't as good to Lumet as the 70s and 80s - yet, everyone has to slow down eventually, and he was in his late sixties and early seventies by then - he closed out his career with two films just as strong as NETWORK, DOG DAY AFTERNOON and DEATHTRAP, but his remake of John Cassevetes' Gloria Starring Sharon Stone has a lot to like in it, as well, even if it doesn't stand among his best, or even his B-level films. But, then again, whose B-level films are even this good besides Lumet's? It's a gloria, not a hallelujah, but there is a lot to like in Stone's nuanced performance.

But, back to the classics - and both of these are standouts even in a career as stupendous as Sidney Lumet's. First, in 2006, came the unlikely trio of Vin Diesel, Peter Dinklage and Raul Esparza in a courtroom drama just as good as 12 ANGRY MEN and THE VERDICT. Watch Esparza's monologue on the stand and try not to cry. Few films contain a performance as strong as Esparza's in this - it brings to mind Chris Sarandon in DOG DAY AFTERNOON in its subtle power - and Diesel and Dinklage have never, ever been better. Not many people saw this film when it came out, so now is your chance. It's GOODFELLAS meets THE VERDICT meets 12 ANGRY MEN and a whole lot more!

Lumet's last film stands among his very, very best - the true mark of a genius. Firing on all axels and making a film as contemporary as can be, BEFORE THE DEVIL KNOWS YOU'RE DEAD is one of those movies you see and before the credits have even rolled you are compelled to call and tell all your friends to run, don't walk, to catch it. A Shakespearean tragedy involving love, drugs, robbery, jewels and the fallibility of the human body - and the human family - this film has it all. A masterpiece - as good if not better than any of his other films, which is certainly high praise indeed.

Judging from that film - and the rest we've considered today - Lumet did not just go out on a high, he went out on a cloud.