Auch das hat seine Berechtigung, denn als Vorgeschichte und Konsequenz einer fatalen Entscheidung zur Tat ist Sidney Lumets Film nach Drehbuch von Kelly. Sidney Lumet war ein US-amerikanischer Regisseur, Drehbuchautor und Schauspieler. Nach der Arbeit als Theaterschauspieler war er ab Beginn der er Jahre als Fernsehregisseur tätig. Internationale Bekanntheit brachte ihm die Regie an Die zwölf. Étape par étape, Sidney Lumet aborde tous les aspects de la création cinématographique, de l'écriture à la post-production: le casting, les répétitions, le choix.
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Sidney Lumet war ein US-amerikanischer Regisseur, Drehbuchautor und Schauspieler. Nach der Arbeit als Theaterschauspieler war er ab Beginn der er Jahre als Fernsehregisseur tätig. Internationale Bekanntheit brachte ihm die Regie an Die zwölf. Sidney Lumet ['sɪdni luːˈmɛt] (* Juni in Philadelphia, Pennsylvania; † 9. April in New York City) war ein US-amerikanischer Regisseur. Dies ist eine Themenkategorie für Artikel, die folgendes Kriterium erfüllen: „gehört zu Sidney Lumet“. Diese Kategorie kann nur in andere Themenkategorien. von Ergebnissen oder Vorschlägen für DVD & Blu-ray: "Sidney Lumet". Überspringen und zu Haupt-Suchergebnisse gehen. Berechtigt zum. Étape par étape, Sidney Lumet aborde tous les aspects de la création cinématographique, de l'écriture à la post-production: le casting, les répétitions, le choix. DER FILM DES JAHRES NETWORK Sidney Lumets bissige Mediensatire über einen alternden Nachrichtensprecher, brillant porträtiert von Peter Finch. By Sidney Lumet. Nancy Buirski lässt uns an einer beeindruckenden Meisterklasse beim großen Moralisten des amerikanischen Kinos teilnehmen. Basierend.
sidney lumet gloria. Auch das hat seine Berechtigung, denn als Vorgeschichte und Konsequenz einer fatalen Entscheidung zur Tat ist Sidney Lumets Film nach Drehbuch von Kelly. verboten sein müsste: schön, reich, klug und hochbegabt, scheu und ebenso abenteuerlustig. Sie hatte Affären mit Frank Sinatra und Marlon Brando (um nur die.
According to film historians Gerald Mast and Bruce Kawin, Lumet's "sensitivity to actors and to the rhythms of the city have made him America's longest-lived descendant of the s Neorealist tradition and its urgent commitment to ethical responsibility.
The Encyclopedia of World Biography states that his films often featured actors who studied " Method acting ", noted for portraying an earthy, introspective style.
A leading example of such "Method" actors would be Al Pacino , who, early in his career, studied under Method acting guru Lee Strasberg.
Lumet also preferred the appearance of spontaneity in both his actors and settings, which gave his films an improvisational look by shooting much of his work on location.
Lumet was a strong believer in rehearsal, and felt that if you rehearse correctly the actor will not lose spontaneity. According to acting author Ian Bernard, he felt that it gives actors the "entire arc of the role," which gives them the freedom to find that "magical accident.
As a result, she adds "not a minute is wasted while he's shooting, and that shows not only on the studio's budget, but it shows on the impetus of performance.
Sidney, let me say, is one of, if not, the most talented and professional men in the world He's a really gifted man who contributed a good deal to my performance.
Partly because his actors were well rehearsed, he could execute a production in rapid order, which kept his productions within their modest budget.
When filming Prince of the City , for example, although there were over speaking roles and different locations, he was able to coordinate the entire shoot in 52 days.
As a result, write historians Charles Harpole and Thomas Schatz, performers were eager to work with him as they considered him to be an "outstanding director of actors.
He was just a ball of fire. He had passion for what he did and he "came to work" with all barrels burning.
He's probably the most prepared director I've ever worked with emotionally. His films always came in under schedule and under budget.
And everybody got home for dinner. Harpole adds that "whereas many directors disliked rehearsals or advising actors on how to build their character, Lumet excelled at both.
Joanna Rapf, writing about the filming of The Verdict , states that Lumet gave plenty of personal attention to his actors, whether listening to them or touching them.
She describes how Lumet and star Paul Newman sat on a bench secluded from the main set, where Newman had taken his shoes off, to privately discuss an important scene about to be shot This preparation was done because Lumet likes to shoot a scene in one take, two at the most.
Newman liked to call him "Speedy Gonzales," adding that Lumet did not shoot more than he had to. I know I would," Newman said.
Film critic Betsey Sharkey agrees, adding that "he was a maestro of one or two takes years before Clint Eastwood would turn it into a respected specialty.
A racing pulse generated by a big heart. Biographer Joanna Rapf observes that Lumet had always been an independent director, and liked to make films about "men who summon courage to challenge the system, about the little guy against the system.
Its star, Anne Bancroft embodied the kind of character portrayal that attracted him: "a committed activist for all kinds of causes, who stands up for the rights of the oppressed, who is lively, outspoken, courageous, who refuses to conform for the sake of convenience, and whose understanding of life allows her to die with dignity Garbo Talks in many ways is a valentine to New York.
In interview in , he said that he had always been "fascinated by the human cost involved in following passions and commitments, and the cost those passions and commitments inflict on others.
Film historian Stephen Bowles notes that Lumet was most comfortable and effective as a director of serious psychodramas , as opposed to light entertainments.
His Academy Award nominations, for example, were all for character studies of men in crisis, from his first film, Twelve Angry Men , to The Verdict.
Lumet excelled at putting drama on the screen. Lumet's protagonists tended to be antiheroes , isolated and unexceptional men who rebel against a group or institution.
The most important criterion for Lumet was not simply whether the actions of the people are right or wrong, but whether they were genuine and justified by the individual's conscience.
Whistleblower Frank Serpico , for example, is the quintessential Lumet hero, whom he described as a "rebel with a cause. An earlier example of psychodrama was The Pawnbroker in , starring Rod Steiger.
In it, Steiger played a Holocaust survivor whose spirit had been broken and lives day-to-day as a pawn shop manager in Harlem. Lumet used the film to examine, with flashbacks, the psychological and spiritual scars Steiger's character lives with, including his lost capacity to feel pleasure.
Serpico was the first of four "seminal" films Lumet made during the s that marked him as "one of the greatest filmmakers of his generation.
As Lumet was a child during the Depression , he grew up poor in New York City and witnessed the poverty and corruption all around him. He admits, however, that he does not believe that art itself has the power to change anything.
He has steady themes: the fragility of justice, and the police and their corruption. Lumet quickly became esteemed His sensitivity to actors and to the rhythms of the city have made him "America's longest-lived descendant of the s Neorealist tradition and its urgent commitment to ethical responsibility.
Lumet always preferred to work in New York City and shunned the dominance of Hollywood. He claimed that "the diversity of the City, its many ethnic neighborhoods, its art and its crime, its sophistication and its corruption, its beauty and its ugliness, all feed into what inspires him.
For Lumet, "New York is filled with reality; Hollywood is a fantasyland. They felt unconstrained as filmmakers and their art became "filtered through their Jewish consciousness," notes film historian David Desser.
Lumet, like the others, sometimes turned to Jewish themes in order to develop ethnic sensibilities that were characteristic of contemporary American culture,  : 3 by dynamically highlighting its "unique tensions and cultural diversity.
The subject of "guilt," explains Desser, dominates many of Lumet's films. In a film like Murder on the Orient Express , all of the suspects are guilty.
His films were also characterized by a strong emphasis on family life, often showing tensions within the family. An "untraditional family" is also portrayed in Dog Day Afternoon He did not like the "decorator's look", where the camera could call attention to itself.
He edited his films so the camera was unobtrusive. His cinematographer Ron Fortunato said "Sidney flips if he sees a look that's too artsy.
Partly because he was willing and able to take on so many significant social issues and problems, he achieved strong performances from lead actors with fine work from character actors.
He is "one of the stalwart figures of New York moviemaking. He abides by good scripts, when he gets them," said critic David Thomson.
Someone once asked me what making a movie was like. I said it was like making a mosaic. Each setup is like a tiny tile a setup, the basic component of a film's production, consists of one camera position and its associated lighting.
You color it, shape it, polish it as best you can. You'll do six or seven hundred of these, maybe a thousand.
There can easily be that many setups in a movie. Then you literally paste them together and hope it's what you set out to do.
Critic Justin Chang adds that Lumet's skill as a director and in developing strong stories, continued up to his last film in , noting that his "nimble touch with performers, his ability to draw out great warmth and zesty humor with one hand and coax them toward ever darker, more anguished extremes of emotion with the other, was on gratifying display in his ironically titled final film, Before the Devil Knows You're Dead.
In the same interview with New York magazine, he said he expects to see more directors from different ethnic backgrounds and communities, telling their stories.
Lumet was married four times; the first three marriages ended in divorce. He was married to actress Rita Gam from to ;  to socialite Gloria Vanderbilt from to ; to Gail Jones daughter of Lena Horne from to , and to Mary Bailey Gimbel ex-wife of Peter Gimbel from until his death.
He had two daughters by Jones: Amy, who was married to P. She also wrote the screenplay for the film Rachel Getting Married.
Lumet died at the age of 86 on April 9, in his residence in Manhattan from lymphoma. I'm not religious. I do know that I don't want to take up any space.
Burn me up and scatter my ashes over Katz's Delicatessen. Following his death, numerous tributes have been paid for his enduring body of work, marked by many memorable portrayals of New York City.
Allen called him the "quintessential New York film-maker", while Scorsese said "our vision of the city has been enhanced and deepened by classics like Serpico , Dog Day Afternoon and, above all, the remarkable Prince of the City.
According to film historian Bowles, Lumet succeeded in becoming a leading drama filmmaker partly because "his most important criterion [when directing] is not whether the actions of his protagonists are right or wrong, but whether their actions are genuine.
Lumet's published memoir about his life in film, Making Movies , is "extremely lighthearted and infectious in its enthusiasm for the craft of moviemaking itself," writes Bowles, "and is in marked contrast to the tone and style of most of his films.
Noting that Lumet's "compelling stories and unforgettable performances were his strong suit," director and producer Steven Spielberg believes that Lumet was "one of the greatest directors in the long history of film.
He did not win an individual Academy Award, although he did receive an Academy Honorary Award in and 14 of his films were nominated for various Oscars, such as Network , which was nominated for 10, winning 4.
In , Lumet received an Academy Award for Lifetime Achievement for his "brilliant services to screenwriters, performers, and the art of the motion picture.
A few months after Lumet's death in April , TV commentator Lawrence O'Donnell aired a tribute to Lumet,  and a retrospective celebration of his work was held at New York's Lincoln Center with the appearance of numerous speakers and film stars.
Lumet had worked with Human Rights First on a media project related to the depiction of torture and interrogation on television.
The following films directed by Lumet have received Academy Awards and nominations:. Berlin International Film Festival. British Academy Film Awards.
Cannes Film Festival. Venice Film Festival. From Wikipedia, the free encyclopedia. American director, producer and screenwriter.
Lumet at Toronto International Film Festival. Philadelphia , Pennsylvania, U. Rita Gam. Gloria Vanderbilt. Gail Jones. Mary Gimbel.
While the goal of all movies is to entertain, the kind of film in which I believe goes one step further. It compels the spectator to examine one facet or another of his own conscience.
It stimulates thought and sets the mental juices flowing. As a movie goes on, it gets more and more grueling and you really need a director who will help remind you where your character is at all times.
Sidney Lumet was like that. All wonderful directors will do that. Sidney was a visionary film-maker whose movies made an indelible mark on our popular culture with their stirring commentary on our society.
Future generations of film-makers will look to Sidney's work for guidance and inspiration but there will never be another who comes close to him.
Lumet is one of the most important film directors in the history of American cinema, and his work has left an indelible mark on both audiences and the history of film itself.
Retrieved January 4, Sidney Lumet: Interviews , Univ. What's His Name? The New York Times. Retrieved March 22, BBC News. April 9, Retrieved April 10, Guilty as Sin.
A Stranger Among Us. Director, Writer Screenplay. Family Business. Running on Empty. The Morning After. Garbo Talks.
The Verdict. Prince of the City. The Wiz. Dog Day Afternoon. Murder on the Orient Express. Lovin' Molly.
The Offence. Child's Play. The Anderson Tapes. King: A Filmed Record Montgomery to Memphis. The Last of the Mobile Hot-Shots.
The Appointment. Bye Bye Braverman. The Sea Gull. The Group. The Deadly Affair. The Hill. Director, Co-Executive Producer. The Pawnbroker. Long Day's Journey Into Night.
A View From the Bridge.