Sidney Lumet, director of landmark motion pictures such as The Pawnbroker, Twelve Angry Men, Serpico, and Network, has proven to be one of America's most enduring and diversified film directors. His singular career as a filmmaker - spanning more than forty years - has embraced both purely commercial projects and ones of enormous complexity and challenge. Lumet has distinguished himself as visionary while tackling every imaginable type of film.
In this exhaustive new study of Lumet, Jay Boyer presents the most up-to-date and inclusive analysis yet of the director's films - moving far beyond the limited analyses previously published. Boyer employs an eclectic approach in his appraisal of Lumet, with a strong emphasis toward auteur methods of criticism. An extensively detailed examination of individual films from Lumet's early, middle and recent periods incorporates discussion of technique (camera placement, mise en scene, editing, etc.) in relation to the narrative idea. This probing of the relationship between form and idea is the essence of Boyer's study. He argues convincingly that while Lumet does not see himself as an auteur he is someone who has made a significant mark on motion picture art by making films with recurring ideas and motifs, while employing a restrained cinematic style that permits itself to remain subservient to the film narrative. Boyer also astutely observes and builds a case for Lumet as a director whose finest achievements place him inside a circle of filmmakers who belong to the New York School of Filmmaking. Along with those of his contemporaries John Frankenheimer, Delbert Mann, and Martin Scorsese, Lumet's films are often marked by their gritty, urban feel and air of authenticity.
Boyer's study is frank in its appraisal of both the distinguished achievements and the shortcomings of Lumet's life work. Highly readable and lucid, it belies the critical assumptions generally applied to Lumet's films to enable a fuller appreciation of his worth.
For in this book, Sidney Lumet, one of our most consistently acclaimed directors, gives us both a professional memoir and a definitive guide to the art, craft, and business of the motion picture.
A collection of over twenty interviews with the director of Serpico, Dog Day Afternoon, The Verdict, and 12 Angry Men A collection of over twenty interviews with the director of Serpico, Dog Day Afternoon, The Verdict, and 12 Angry Men
THE STORY: As The New York Times describes, The play tells of a woman storekeeper and a handsome, guileless youth who comes in off the highway.
Literature Review from the year 2007 in the subject English - Literature, Works, grade: 1, University of Innsbruck, language: English, abstract: In this paper I will look at the film Twelve Angry Men (1957) by Sidney Lumet.
As the old mafia don (Leonard Cimino), his business interests perhaps endangered by the developing blood-feud against Assante by Nolte and O'Neal, rails about how business has changed since the old days and decides on a new ...
Sidney Lumet: A Guide to References and Resources
New York has appeared in more movies than Michael Caine, and the resulting overfamiliarity to moviegoers poses a problem for critics and filmmakers alike. Audiences often mistake the New York...
The behind-the-scenes story of the making of the iconic movie Network, which transformed the way we think about television and the way television thinks about us "I'm mad as hell, and I'm not going to take this anymore!
Escape to the breathtaking coast of Maine and let the unmissable novel from Mia March brighten up your summer. Perfect for fans of Jenny Colgan, Veronica Henry and The Jane Austen Book Club.
The thing with Clift was the same as having a man play Jimmy Stewart's part in Rear Window saying to me, “I don't think I'd look over there.” Well, you'd have no picture—no picture at all. Also, Anne Baxter was completely miscast.