arts arts April 12, 2011 Prince of New York City Prince of New Yo rk City The late director Sidney Lumet had a feel for the place and itsThpeoplee late director Sidney Lumet By Wesley Morris circumstances,hadurbanaandfeelother- for the place and its people GLOBE STAFF wise, bring out in a person some- idney Lumet’s chief thing you didn’t seeBycomingWesle. Hiys Morris circumstances, urban and other- preoccupation wasn’t movies, for instance, couldGLOBEbe STAFF wise, bring out in a person some- art. It was right and buffets of cutaways to the stoic, wrong in the American nonplussed, or terrifiedidnefacesy Lumeof t’s chief thing you didn’t see coming. His Scity, nearly always in bit players and extras.preoccupation wasn’t movies, for instance, could be New York. Lumet died Saturday His best films — fromart.1973’It wass right and buffets of cutaways to the stoic, morning. He was 86, and made ‘‘Serpico’’ on down — wrongare set inin the American nonplussed, or terrified faces of his first film in 1957, in his early New York, and when thecity,Monearlyunt always in bit players and extras. 30s, after having spent most the Rushmore ofSgreat New York New York. Lumet died Saturday His best films — from 1973’s 1950s directing television — directors is made, the selection serious television. That first committeemorningmight have. Hea toughwas 86, and made ‘‘Serpico’’ on down — are set in movie was ‘‘12 Angry Men,’’ and time figuringhisoutfirstwhosefilmheadin 1957, in his early New York, and when the Mount has there been a more sincerely goes alongside30s,Maafrtterin Scorsesehaving ’sspent, most the Rushmore of great New York volcanic movie about the law — Woody Allen1950’s, ands direcSpiketingLee’s.television — directors is made, the selection or a family of addicts (‘‘Long Cassavetes?seriousWarhol?teleI’d votevision.for That first committee might have a tough Day’s Journey Into Night’’), po- Lumet — if only for the warm, movie was ‘‘12 Angry Men,’’ and time figuring out whose head lice corruption (‘‘Serpico’’), bank illustrative opening montage of robbery (‘‘Dog Day Afternoon’’), ‘‘Dog Day Afhasternoon,there’’ whichbeen a more sincerely goes alongside Martin Scorsese’s, TV (‘‘Network’’), or abotched skips aroundvolcanicNew Yorkmovielookingabout the law — Woody Allen’s, and Spike Lee’s. heist (‘‘Before the Devil Knows for an electricor asorfamilyt of troubleof addicand ts (‘‘Long Cassavetes? Warhol? I’d vote for You’re Dead’’)? finds it in aDacary’fulls Joofurnebankyrob-Into Night’’), po- Lumet — if only for the warm, Mostly, he dealt with crime bers. But thereliceiscorruptionmuch more(‘‘Serpico’’), bank illustrative opening montage of and corruption (political, psycho- where that came from — both in logical, ethical). But those senses that movie robberand in mosty (‘‘Dogof Lu-Day Afternoon’’), ‘‘Dog Day Afternoon,’’ which of order and propriety kept him met’s. TV (‘‘Network’’), or abotched skips around New York looking away from pulp and out of the Lumet mightheistha(‘‘Beve alsoforebe-the Devil Knows for an electric sort of trouble and gutter. He was trying to answer come the mostYou’influentialre Dead’’)?Ameri- finds it in a car full of bank rob- questions that transcend conven- can director ofMothe stlylast,50heyears.dealt with crime bers. But there is much more tional film genres. He wasn’t Consciouslyandor notcorruption, his movies’(political, psycho- where that came from — both in interested in pure evil — or pure vitality — the exhilaration of, say, goodness, either. Lumet brought ‘‘12 Angry Melogical,n,’’ ‘‘Thete Pahical).wnbro-But those senses that movie and in most of Lu- to life all sorts of venality and ker,’’ ‘‘Serpico,of’’order‘‘Dog Daandy Afproprieter- ty kept him met’s. desperation in the genre of ‘‘New noon,’’ ‘‘Netawwork,ay’’from‘‘Princepulpof theand out of the Lumet might have also be- York.’’ He was in a unique posi- City,’’ ‘‘The Vegutrdictert,.’’Heandwas‘‘Q&Atr’’ying— to answer come the most influential Ameri- tion to do so. He came to the is in the DNquestionsA of other moviesthat trandanscend conven- can director of the last 50 years. movies when Hollywood was TV. In 2007tionalalone, filmthe yeargenres.of He wasn’t Consciously or not, his movies’ transitioning from the 1940s and ‘‘Before the Devil Knows You’re ’50s comforts of the soundstage Dead,’’ you interestedcould sense Lumein puret evil — or pure vitality — the exhilaration of, say, and of moral tidiness to a wilder, coursing throughgoodness,the pareitheranoia-. Lumet brought ‘‘12 Angry Men,’’ ‘‘The Pawnbro- more visceral realism that was driven corruptionto life allthrillersorts‘‘Mofi- venality and ker,’’ ‘‘Serpico,’’ ‘‘Dog Day After- inextricable from the madness chael Claytondesper’’ andathauntingion in thethe genre of ‘‘New noon,’’ ‘‘Network,’’ ‘‘Prince of the roiling the country in the 1960s brotherly divideYork.of’’ He‘‘WewasOwninthea unique posi- City,’’ ‘‘The Verdict,’’ and ‘‘Q&A’’ — and ’70s. Lumet was perfect for Night’’ and, to some extent, tion to do so. He came to the is in the DNA of other movies and that change. He brought together ‘‘American Gangster,’’ not to an old-fashioned moral sensibil- mention themoviesfraternalwhenplay-Hollywood was TV. In 2007 alone, the year of ity and on-location authenticity. ground of thetransitioning‘‘Ocean’s’’ moviesfrom the 1940s and ‘‘Before the Devil Knows You’re He was the most reliable you-are- and the half-jolly’50s comfor, half-dismats ofyedthe soundstage Dead,’’ you could sense Lumet there American director of the human touchandSpikofemorLeealusedtidinessfor to a wilder, coursing through the paranoia- ’70s. 2006’s ‘‘InsidemoreMaviscern.’’ (Whenal realismI that was driven corruption thriller ‘‘Mi- Lumet was born in Philadel- met with Lumet a couple of years phia, to a couple of Yiddish ac- ago, he toldinemextricableLee calledfromto the madness chael Clayton’’ and haunting the tors, but he lived most of his life warn him tharoilingt sometheof thacountrt touchy in the 1960s brotherly divide of ‘‘We Own the in New York. He knew and loved was indeedandLume’70t’s.s.) Lumet was perfect for Night’’ and, to some extent, the city, and was drawn to its In fact, mass-mediathat changcue.ltureHe brought together ‘‘American Gangster,’’ not to problems and the possibility of has finally goanneold-fashionedso bonkers thatmoral sensibil- mention the fraternal play- solving them, if only in fiction. ‘‘Network,’’itwhichy andLumeon-locat directiont- authenticity. ground of the ‘‘Ocean’s’’ movies Even better, he knew the people. ed from Paddy Chayefsky’s nucle- MARK J. TERRILL/ASSOCIATED PRESS/FILE Character, of course, is what ar bomb ofHea scriptwas, nowthe mostseemsreliable you-are- and the half-jolly, half-dismayed Al Pacino, who starred in Sidney Lumet’s ‘‘Dog Day Afternoon’’ and ‘‘Serpico,’’ presented the separates a Lumet picture from beyond timeless.thereOneAmericanof the greadirect tor of the human touch Spike Lee used for director with an honorary Oscar in 2005. many other directors’ — the way movie satires’70hass. become simply 2006’s ‘‘Inside Man.’’ (When I Lumet was born in Philadel- met with Lumet a couple of years arts 6 BL[HE BOS[TN GLOBE L9PRIL 12, 2011 phia, to a couple of Yiddish ac- ago, he told me Lee called to tors, but he lived most of his life warn him that some of that touch in New York. He knew and loved was indeed Lumet’s.) the city, and was drawn to its In fact, mass-media culture problems and the possibility of has finally gone so bonkers that solving them, if only in fiction. ‘‘Network,’’ which Lumet direct- Even better, he knew the people. ed from Paddy Chayefsky’s nucle- MARK J. TERRILL/ASSOCIATED PRESS/FILE Character, of course, is what ar bomb of a script, now seems Prince of NeAlwPacino, whoYostarred in Sidnerky Lumet’sCit‘‘Dog Day Afternoony’’ and ‘‘Serpico,’’ presented the separates a Lumet picture from beyond timeless. One of the great director with an honorary Oscar in 2005. many other directors’ — the way movie satires has become simply 6 BL[HE BOS[TN GLOBEThL9PRILe la12,te2011director Sidney Lumet had a feel for the place and its people By Wesley Morris circumstances, urban and other- GLOBE STAFF wise, bring out in a person some- idney Lumet’s chief thing you didn’t see coming. His preoccupation wasn’t movies, for instance, could be art. It was right and buffets of cutaways to the stoic, wrong in the American nonplussed, or terrified faces of Scity, nearly always in bit players and extras. New York. Lumet died Saturday His best films — from 1973’s morning. He was 86, and made ‘‘Serpico’’ on down — are set in his first film in 1957, in his early New York, and when the Mount 30s, after having spent most the Rushmore of great New York 1950s directing television — directors is made, the selection serious television. That first committee might have a tough movie was ‘‘12 Angry Men,’’ and time figuring out whose head has there been a more sincerely goes alongside Martin Scorsese’s, volcanic movie about the law — Woody Allen’s, and Spike Lee’s. or a family of addicts (‘‘Long Cassavetes? Warhol? I’d vote for Day’s Journey Into Night’’), po- Lumet — if only for the warm, lice corruption (‘‘Serpico’’), bank illustrative opening montage of robbery (‘‘Dog Day Afternoon’’), ‘‘Dog Day Afternoon,’’ which TV (‘‘Network’’), or abotched skips around New York looking heist (‘‘Before the Devil Knows for an electric sort of trouble and You’re Dead’’)? finds it in a car full of bank rob- Mostly, he dealt with crime bers. But there is much more and corruption (political, psycho- where that came from — both in logical, ethical). But those senses that movie and in most of Lu- of order and propriety kept him met’s. away from pulp and out of the Lumet might have also be- gutter. He was trying to answer come the most influential Ameri- questions that transcend conven- can director of the last 50 years.