Sidney Lumet (Sidney Lumet), born on June 25, 1924 in Pennsylvania, USA, is an American director, screenwriter, and producer.
In 1957, he directed his first feature film " 12 ", and he was nominated for Best Director at the 30th Academy Awards for this film
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. In 1962, directed the ethical film " Long Day's Journey Into Night ", which was nominated for the Palme d’Or at the 15th Cannes Film Festival
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. In 1967, directed the crime film " The Deadly Affair ", which won the 21st British Academy of Film and Television Arts Award Film Award-Best British Film nomination
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. In 1972, directed the crime thriller " The Offence "
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. In 1974, directed the crime film " Murder on the Orient Express "
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. In 1976, directed the feature film " Network "
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In 1982, with the directing of the feature film " The Verdict ", he was nominated for Best Director at the 55th Academy Awards
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. In 1984, directed the comedy " Dialogue with Garbo "
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. In 1988, directed the feature film " A time to kill "
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. In 1992, directed the romance film " A Stranger Among U ", which was nominated for the Palme d’Or, the main competition unit of the 45th Cannes Film Festival
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. In 1997, directed the horror film " Night Falls on Manhattan "
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. In 1999, directed the thriller " Gloria "
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. In 2005, he won the honorary award of the 77th Academy Awards
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. In 2007, directed the crime thriller " Before the Devil Knows You're Dead "
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On April 10, 2011, Sidney Lumet died of lymphoma at his home in Manhattan at the age of 86
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Personal Life
Sidney Lumet's father is the actor Baruch Lumet and his mother is the dancer Eugenia Wermus Lumet. He married Gloria Vanderbilt in 1956, but ended the marriage in 1963.
On April 10, 2011, Sidney Lumet died of lymphoma at his home in Manhattan at the age of 86
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Character Evaluation
Sidney Lumet’s films are usually emotional, but almost no films are emotionally exaggerated. He often tells stories full of wisdom and intricacies. He is politically left and often discusses social themes in his films, but he does not put political films on First place .
Sidney Lumet's films are highly dramatic and good at creating conflicts; the themes are clear, profound and critical; the techniques are calm and plain, and the lines are very contagious. Their favorite themes are suspense dramas and court scenes with police as the protagonist. In "12", he demonstrated his superb shot scheduling ability and the ability to create dramatic conflicts in a small space .
Sidney Lumet's works have unparalleled excitement, perfect rhythm, fascinating performances, subtle conflicts, and touching stories. This is not excessive praise. He has created many masterpieces, which can withstand all rational compliments. He creates strong dramatic conflicts in a small space. The dramatic space of "12 Angry Men" is the courtroom, the main feature of "Hot Day Afternoon" is in the bank, the story of "Murder on the Orient Express" takes place on the train, and the "Death Plan" The main plot of "Ji" is in the playwright's home, he is a veritable "indoor theater master". This is related to his early experience. He was a Broadway child star and had been a theater director. The narrow space of indoor drama is similar to the stage. He is particularly fond of and very good at creating conflicts in indoor drama .
Extended Reading
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Meggie
2022-07-05 19:29:14
A master of facial expressions
Looking at Burton's acting skills from this group of photos, Burton's acting skills do not need to rely on video to rely on moving pictures to show, just like Burton never needs tears to express pain and sorrow, he refuses to act in tears because he does not need to be like other actors. Relying on...
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Kimberly
2022-07-05 19:26:02
When the water is clear, there are no fish
A bit of an incomprehensible movie.
The teenager escaped the hypocritical and rigid dogma of his parents and found the horse, but after finding that he was not "pure" enough, he could only kill the god/horse, and fell into chaos in order to escape without a way out. The doctor takes it as his duty...
Equus quotes
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Martin Dysart:
Three weeks a year, in the Mediterranean. Every bed booked in advance. Every meeting paid for with vouchers. Cautious George and hired cars. Suitcase, crammed with kaopectate. What a fantastic surrender to the primitive! And the primitive, I use that word endlessly. Ah, the primitive world, I say, what instinctual truths were lost with it?
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Martin Dysart:
While I sit there, baiting that poor, unimaginative woman, with a word, that freaky boy is trying to conjure the reality. I look at pages of centaurs, trampling the soil of Argos and outside my window that boy is trying to become one in a Hampshire field. I sit there, night after night, watching that woman knitting, a woman I haven't kissed in six years! And he stands for an hour in the dark, sucking the sweat off his god's hairy cheek. Then, in the morning, I put away my books on the couch or shelf, close up my Kodachrome snaps of Mount Olympus, touch my reproduction statue of Dionysus, for luck, and go off to the hospital to treat - him - for insanity.
