The Info List - Sidney Lumet

Sidney Arthur Lumet (/luːˈmɛt/ loo-MET; June 25, 1924 – April 9, 2011) was an American director, producer and screenwriter with over 50 films to his credit. He was nominated for the Academy Award for Best Director for 12 Angry Men (1957), Dog Day Afternoon (1975), Network (1976), and The Verdict
The Verdict
(1982). He did not win an individual Academy Award, but he did receive an Academy Honorary Award and 14 of his films were nominated for various Oscars, such as Network, which was nominated for ten, winning four. The Encyclopedia of Hollywood states that Lumet was one of the most prolific filmmakers of the modern era, having directed more than one movie a year on average since his directorial debut in 1957.[1] He was noted by Turner Classic Movies
Turner Classic Movies
for his "strong direction of actors," "vigorous storytelling" and the "social realism" in his best work.[2] Film critic Roger Ebert
Roger Ebert
described him as having been "one of the finest craftsmen and warmest humanitarians among all film directors."[3] Lumet was also known as an "actor's director," having worked with the best of them during his career, probably more than "any other director."[4] Sean Connery, who acted in five of his films, considered him one of his favorite directors, and a director who had that "vision thing."[5] A member of the maiden cohort of New York's Actors Studio,[6] Lumet began his directorial career in Off-Broadway productions, then became a highly efficient TV director. His first movie, 12 Angry Men (1957), was a courtroom drama centered on tense jury deliberations. Lumet subsequently divided his energies among other political and social drama films, as well as adaptations of literary plays and novels, big stylish stories, New York-based black comedies, and realistic crime dramas, including Serpico
and Prince of the City. As a result of directing 12 Angry Men, he was also responsible for leading the first wave of directors who made a successful transition from TV to movies.[7] In 2005, Lumet received an Academy Award
Academy Award
for Lifetime Achievement for his "brilliant services to screenwriters, performers, and the art of the motion picture." Two years later, he concluded his career with the acclaimed drama Before the Devil Knows You're Dead
Before the Devil Knows You're Dead
(2007). A few months after Lumet's death in April 2011, a retrospective celebration of his work was held at New York's Lincoln Center
Lincoln Center
with the appearance of numerous speakers and film stars.[8] In 2015, Nancy Buirski directed By Sidney Lumet, a documentary about his career,[9][10] and in January 2017 PBS
devoted its American Masters
American Masters
series to Lumet's life as a director.[11][12]


1 Biography

1.1 Early years 1.2 Early career 1.3 Death

2 Directing style and subjects

2.1 Realism and energetic style 2.2 Collaboration 2.3 Rehearsal and preparation 2.4 Character development 2.5 Psychodramas 2.6 Issues of social justice 2.7 New York City settings 2.8 Use of contemporary Jewish
themes 2.9 Directing techniques 2.10 Vision of future films

3 Personal life 4 Legacy 5 Filmography 6 Awards

6.1 Academy Awards 6.2 Other awards

7 References 8 External links

Biography[edit] Early years[edit]

Lumet in the 1940 play, Journey to Jerusalem

Lumet was born in Philadelphia. He studied theater acting at the Professional Children's School of New York and Columbia University.[13][14] Lumet's parents, Baruch and Eugenia (née Wermus) Lumet, were both veterans of the Yiddish
theatre,[15] and were Polish Jewish
emigrants to the United States. His father, an actor, director, producer and writer, was born in Warsaw.[16] Lumet's mother, who was a dancer, died when he was a child. He made his professional debut on radio at age four and stage debut at the Yiddish
Art Theatre at age five.[17] As a child he also appeared in many Broadway plays,[15] including 1935's Dead End and Kurt Weill's The Eternal Road. In 1935, aged 11, he appeared in a Henry Lynn
Henry Lynn
short film, Papirossen (meaning "Cigarettes" in Yiddish), co-produced by radio star Herman Yablokoff. The film was shown in a theatrical play with the same title, based on a hit song, "Papirosn". The play and short film appeared in the Bronx McKinley Square Theatre.[18] In 1939, he made his only feature-length film appearance, at age 15, in ...One Third of a Nation....[19][20] In 1939, World War II
World War II
interrupted his early acting career, and he spent three years with the U.S. Army. After returning from service as a radar repairman stationed in India
and Burma
(1942–1946), he became involved with the Actors Studio, and then formed his own theater workshop. He organized an Off-Broadway group and became its director, and continued directing in summer stock theatre, while teaching acting at the High School of Performing Arts.[19] He was the senior drama coach at the new 46th St. (Landmark) building of "Performing Arts' ("Fame"). The 25-year-old Lumet directed the drama department in a production of The Young and Fair.[citation needed] Early career[edit]

Directing a TV show in 1953

Lumet began his career as a director with Off-Broadway productions and then evolved into a highly respected TV director. After working off-Broadway and in summer-stock, he began directing television in 1950, after working as an assistant to friend and then-director Yul Brynner. He soon developed a "lightning quick" method for shooting due to the high turnover required by television. As a result, while working for CBS
he directed hundreds of episodes of Danger (1950–55), Mama (1949–57), and You Are There (1953–57), a weekly series which co-starred Walter Cronkite
Walter Cronkite
in one of his earliest leading roles. He chose Cronkite for the role of anchorman "because the premise of the show was so silly, was so outrageous, that we needed somebody with the most American, homespun, warm ease about him," Lumet said.[21] He also directed original plays for Playhouse 90, Kraft Television Theatre and Studio One, filming around 200 episodes, which established him as "one of the most prolific and respected directors in the business," according to Turner Classic Movies. His ability to work quickly while shooting carried over to his film career.[2] Because the quality of many of the television dramas was so impressive, several of them were later adapted as motion pictures.

Directing Anna Magnani
Anna Magnani
in The Fugitive Kind
The Fugitive Kind

His first movie, 12 Angry Men, was an auspicious beginning for Lumet. It was a critical success and established Lumet as a director skilled at adapting theatrical properties to motion pictures. US Supreme Court Justice Sonia Sotomayor
Sonia Sotomayor
has described seeing the film as a pivotal moment in her life, as she was then considering a career in law. "It told me that I was on the right path," she said.[22] Fully half of Lumet's complement of films have originated in the theater.[23] A controversial TV show he directed in 1960 gained him notoriety: The Sacco-Vanzetti Story on NBC. According to The New York Times, the drama drew flack from the state of Massachusetts
(where Sacco and Vanzetti were tried and executed) because it was thought to postulate that the condemned murderers were, in fact, wholly innocent. However, the resulting controversy actually did Lumet more good than harm, sending several prestigious film assignments his way.[24]

Directing Marlon Brando
Marlon Brando
in The Fugitive Kind
The Fugitive Kind

He began adapting classic plays for both film and television. In 1959, he directed Marlon Brando, Joanne Woodward
Joanne Woodward
and Anna Magnani
Anna Magnani
in the feature film The Fugitive Kind, based on the Tennessee Williams
Tennessee Williams
play Orpheus Descending. He later directed a live television version of Eugene O'Neill's The Iceman Cometh, which was followed by his 1962 film, A View from the Bridge, another psychological drama from a play written by Arthur Miller. This was followed by another Eugene O'Neill play turned to cinema, Long Day's Journey into Night, in 1962, with Katharine Hepburn
Katharine Hepburn
gaining an Oscar nomination for her performance as a drug-addicted housewife; the four principal actors swept the acting awards at the 1962 Cannes Film Festival.[25] It was also voted one of the year's "Ten Best Films" by The New York Times. Death[edit] Lumet died at the age of 86 on April 9, 2011, in his residence in Manhattan, from lymphoma.[13][26] When asked in a 1997 interview about how he wanted to "go out," Lumet responded, "I don't think about it. 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."[27] Following his death, numerous tributes have been paid for his enduring body of work, marked by many memorable portrayals of New York City. Fellow New York directors Woody Allen
Woody Allen
and Martin Scorsese
Martin Scorsese
both paid tribute to Lumet. 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
Dog Day Afternoon
and, above all, the remarkable Prince of the City."[28] Lumet also drew praise from New York mayor Michael Bloomberg, who called him "one of the great chroniclers of our city".[28] Lumet was called "the last of the great movie moralists" in a tribute remembering a career in which he "guided many of the world's most respected actors through roles that connected with the conscience of multiple generations."[29] Directing style and subjects[edit] Realism and energetic style[edit] Film critic Owen Gleiberman has observed that Lumet was a "hardboiled straight-shooter," who, because he was trained during the golden Age of television in the 1950s, became noted for his energetic style of directing. The words "Sidney Lumet" and "energy," he adds, became synonymous: "The energy was there in the quietest moments. It was an inner energy, a hum of existence that Lumet observed in people and brought out in them. . . [when he] went into the New York streets . . . he made them electric:[30]

It was a working class outer-borough energy. Lumet's streets were just as mean as Scorsese's, but Lumet's seemed plain rather than poetic. He channeled that New York skeezy vitality with such natural force that it was easy to overlook what was truly involved in the achievement. He captured that New York vibe like no one else because he saw it, lived it, breathed it – but then he had to go out and stage it, or re-create it, almost as if he were staging a documentary, letting his actors square off like random predators, insisting on the most natural light possible, making offices look as ugly and bureaucratic as they were because he knew, beneath that, that they weren't just offices but lairs, and that there was a deeper intensity, almost a kind of beauty, to catching the coarseness of reality as it truly looked.[30]


Describing scene with Treat Williams
Treat Williams
in Prince of the City (1981)

Lumet generally insisted on the collaborative nature of film, sometimes ridiculing the dominance of the "personal" director, writes film historian Frank P. Cunningham. As a result, Lumet became renowned among both actors and cinematographers for his openness to sharing creative ideas with the writer, actor, and other artists.[31] Lumet "has no equal in the distinguished direction of superior actors," adds Cunningham, with many coming from the theater. He was able to draw powerful performances from acting luminaries such as Ralph Richardson, Marlon Brando, Richard Burton, Katharine Hepburn, James Mason, Sophia Loren, Geraldine Fitzgerald, Blythe Danner, Rod Steiger, Vanessa Redgrave, Paul Newman, Sean Connery, Henry Fonda, Dustin Hoffman, Albert Finney, Simone Signoret, and Anne Bancroft. "Give him a good actor, and he just might find the great actor lurking within", wrote film critic Mick LaSalle.[32] When necessary, Lumet would choose untrained actors, but stated, "over ninety percent of the time I want the best tools I can get: actors, writers, lighting men, cameramen, propmen."[31] Nonetheless, when he did use less experienced actors, he could still bring out superior and memorable acting performances. He did so with Nick Nolte, Anthony Perkins, Armand Assante, Jane Fonda, Faye Dunaway, Timothy Hutton
Timothy Hutton
and Ali MacGraw, who herself referred to him as "every actor's dream."[33] In Fonda's opinion, "he was a master. Such control of his craft. He had strong, progressive values and never betrayed them."[34]

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.

Sidney Lumet[26]

Lumet believed that movies are an art, and "the amount of attention paid to movies is directly related to pictures of quality."[35] Because he started his career as an actor, he became known as an "actor's director," and worked with the best of them over the years, a roster probably unequaled by any other director.[4] Acting scholar Frank P. Tomasulo agrees, and points out that many directors who are able to understand acting from an actor's perspective, were all "great communicators."[36] 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 1950s Neorealist tradition and its urgent commitment to ethical responsibility."[37] They cite his early film The Hill (1965) as "one of the most politically and morally radical films of the 1960s." They add that beneath the social conflicts of Lumet's films lies the "conviction that love and reason will eventually prevail in human affairs," and that "law and justice will eventually be served – or not."[37] His debut film, Twelve Angry Men, was an acclaimed picture in its day, representing a model for liberal reason and fellowship during the 1950s.[38] The film and Lumet were nominated for Academy Awards, and he was nominated for the Director's Guild Award, with the film widely praised by critics.[19] 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.[39] Rehearsal and preparation[edit] 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."[40] Director Peter Bogdanovich
Peter Bogdanovich
asked him whether he rehearsed extensively before shooting, and Lumet said he liked to rehearse a minimum of two weeks before filming.[4] During those weeks, recalls Faye Dunaway, who starred in Network, he also blocked the scenes with his cameraman. 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."[41] She praises his style of directing in Network, in which she won her only Academy Award:

Sidney, let me say, is one of, if not, the most talented and professional men in the world...and acting in Network was one of the happiest experiences I have ever had...He's a really gifted man who contributed a good deal to my performance.[41]

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 130 speaking roles and 135 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." The film's star, Treat Williams, said that Lumet was known for being "energetic:"

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.[11]

Harpole adds that "whereas many directors disliked rehearsals or advising actors on how to build their character, Lumet excelled at both."[35] He could thereby more easily give his performers a cinematic showcase for their abilities and help them deepen their acting contribution. Actor Christopher Reeve, who co-starred in Deathtrap, also pointed out that Lumet knew how to talk technical language: "If you want to work that way – he knows how to talk Method, he knows how to improvise, and he does it all equally well."[4]

"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
Sidney Lumet
was like that. All wonderful directors will do that."

Al Pacino[42]

Joanna Rapf, writing about the filming of The Verdict, states that Lumet gave a lot of personal attention to his actors, whether listening to them or touching them. She describes how Lumet and star Paul Newman
Paul Newman
sat on a bench secluded from the main set, where Newman had taken his shoes off, in order to privately discuss an important scene about to be shot. . . . The actors walk through their scenes before the camera rolls. 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. "He doesn't give himself any protection. I know I would," Newman said.[4] Film critic Betsey Sharkey agrees, adding that "he was a maestro of one or two takes years before Clint Eastwood
Clint Eastwood
would turn it into a respected specialty." Sharkey recalls, "[Faye] Dunaway once told me that Lumet worked so fast it was as if he were on roller skates. A racing pulse generated by a big heart."[43] Character development[edit] 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."[4]:Intro This also includes the women characters, as in Garbo Talks. Its star, Anne Bancroft
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."[4] In interview in 2006, 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."[4] This theme is at the core of most of his movies, notes Rapf, such as his true-life films about of corruption in the New York City Police Department or in family dramas such as in Daniel. Psychodramas[edit] 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
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.[23] Most of his characters are driven by obsessions or passions, such as the pursuit of justice, honesty, and truth, or jealousy, memory, or guilt.[23] Lumet was intrigued by obsessive conditions, writes Bowles.[23] 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."[44] An earlier example of psychodrama was The Pawnbroker in 1964, 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 occasional flashbacks, the psychological and spiritual scars Steiger's character lives with, including his lost capacity to feel pleasure.[45] Steiger, who has made nearly 80 films, said during a TV interview that the film was his favorite as an actor.[46] Issues of social justice[edit]

"It was the social realism which permeated his greatest work that truly defined Lumet  – the themes of youthful idealism beaten down by corruption and the hopelessness of inept social institutions allowed him to produce several trenchant and potent films that no other director could have made."

Turner Classic Movies[2]

(1973) was the first of four "seminal" films he made in the 1970s that marked him as "one of the greatest filmmakers of his generation."[2] It was the story of power and betrayal in the New York City police force, with an idealistic policeman battling impossible odds.[2] 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.[4] It instilled in him at an early age the importance of justice for a democracy, a subject he tried to put in his films. He admits, however, that he does not believe that art itself has the power to change anything. "There is, as he says, a lot of 'shit' to deal with in the entertainment industry, but the secret of good work is to maintain your honesty and your passion."[4] Film historian David Thomson writes of his films:

He has steady themes: the fragility of justice, and the police and their corruption. Lumet quickly became esteemed ... [and he] got a habit for big issues – Fail Safe, The Pawnbroker, The Hill, – and seemed torn between dullness and pathos. ...  He was that rarity of the 1970s, a director happy to serve his material – yet seemingly not touched or changed by it. ... His sensitivity to actors and to the rhythms of the city have made him "America's longest-lived descendant of the 1950s Neorealist tradition and its urgent commitment to ethical responsibility."[38]

New York City settings[edit] Lumet always preferred to work in New York and shunned the dominance of Hollywood.[4] As a director he became strongly identified with New York. "I always like being in Woody Allen's world," he said. 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."[4] He felt that in order to create it is important to confront reality on a daily basis. For Lumet, "New York is filled with reality; Hollywood is a fantasyland."[4] He used New York time and again as the backdrop – if not the symbol – of his "preoccupation with America's decline," according to film historians Scott and Barbara Siegel.[1] Lumet was attracted to crime-related stories with New York urban settings where the criminals get caught in a vortex of events they can neither understand nor control, but are forced to resolve.[23] Use of contemporary Jewish
themes[edit] Like other Jewish
directors from New York, such as Woody Allen, Mel Brooks, and Paul Mazursky, Lumet's characters often spoke overtly about controversial issues of the times. 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,[47]:3 by dynamically highlighting its "unique tensions and cultural diversity." This was partly reflected in Lumet's preoccupation with city life.[47]:6 His film A Stranger Among Us, for example, is the story of a woman undercover police officer and her experiences in a Hasidic
community within New York City. The subject of "guilt," explains Desser, dominates many of Lumet's films. From his first feature film, 12 Angry Men (1957), in which a jury must decide the guilt or innocence of a young man, to Q & A (1990), in which a lawyer must determine the question of guilt and responsibility on the part of a maverick policeman, guilt is a common thread which runs through many of his films. In a film like Murder on the Orient Express (1974), all of the suspects are guilty.[47]:172 His films were also characterized by a strong emphasis on family life, often showing tensions within the family, .[47]:172 This emphasis on the family included "surrogate families," as in the police trilogy, Serpico
(1973), Prince of the City (1981), and Q&A. An "untraditional family" is also portrayed in Dog Day Afternoon (1975).[47]:172 Directing techniques[edit]

"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."

composer Quincy Jones[28]

Lumet had always preferred naturalism and/or realism, according to Joanna Rapf. 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."[4] 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.[38] Although critics gave varying opinions of his films, in general Lumet's body of work is held in high esteem.[19] Most critics have described him as a sensitive and intelligent director, having good taste, the courage to experiment with his style, and a "gift for handling actors."[19] In a quote from his book, Lumet emphasized the logistics of directing:

“ 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.[48] ”

Critic Justin Chang adds that Lumet's skill as a director and in developing strong stories, continued up to his last film in 2007, 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."[49][50] Vision of future films[edit] 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. "You know, I started out making films about Jews and Italians and Irish because I didn't know anything else."[51] Personal life[edit] Lumet was married four times; the first three marriages ended in divorce. He was married to actress Rita Gam
Rita Gam
from 1949–55;[2] to socialite Gloria Vanderbilt
Gloria Vanderbilt
from 1956–63; to Gail Jones (daughter of Lena Horne) from 1963–78, and to Mary Bailey Gimbel (ex-wife of Peter Gimbel) from 1980 until his death. He had two daughters by Jones: Amy, who was married to P. J. O'Rourke
P. J. O'Rourke
from 1990–1993, and actress/screenwriter Jenny, who had a leading role in his film Q & A. She also wrote the screenplay for the 2008 film Rachel Getting Married.[19][52] Legacy[edit] 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." And where those actions are "justified by the individual's conscience, this gives his heroes uncommon strength and courage to endure the pressures, abuses, and injustices of others." His films have thereby continually given us the "quintessential hero acting in defiance of peer group authority and asserting his own code of moral values."[23] Lumet's published memoir about his life in film, Making Movies (1996), 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. Perhaps Lumet's signature as a director is his work with actors – and his exceptional ability to draw high-quality, sometimes extraordinary performances from even the most unexpected quarters"[23] Jake Coyle, Associated Press
Associated Press
writer, agrees: "While Lumet has for years gone relatively underappreciated, actors have consistently turned in some of their most memorable performances under his stewardship. From Katharine Hepburn
Katharine Hepburn
to Faye Dunaway, Henry Fonda
Henry Fonda
to Paul Newman, Lumet is known as an actor's director,"[53] and to some, like Ali MacGraw, he is considered "every actor's dream."[33]

"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."

Frank Pierson former President of Academy of Motion Pictures[54]

Noting that Lumet's "compelling stories and unforgettable performances were his strong suit," director and producer Steven Spielberg
Steven Spielberg
believes that Lumet was "one of the greatest directors in the long history of film."[55] Al Pacino, upon hearing of Lumet's death, stated that with his films, "he leaves a great legacy, but more than that, to the people close to him, he will remain the most civilized of humans and the kindest man I have ever known."[55] Boston Herald
Boston Herald
writer James Verniere observes that "at a time when the American film industry is intent on seeing how low it can go, Sidney Lumet
Sidney Lumet
remains a master of the morally complex American drama."[56] He did not win an individual Academy Award, although he did receive an Academy Honorary Award in 2005 and 14 of his films were nominated for various Oscars, such as Network, which was nominated for 10, winning 4. In 2005, Lumet received an Academy Award
Academy Award
for Lifetime Achievement for his "brilliant services to screenwriters, performers, and the art of the motion picture." Upon winning recognition from the Academy, Lumet said, "I wanted one, damn it, and I felt I deserved one."[29] Nonetheless, director Spike Lee
Spike Lee
commented that "his great work lives on with us forever. Much more important than Oscar. Ya-dig?"[57] A few months after Lumet's death in April 2011, TV commentator Lawrence O'Donnell
Lawrence O'Donnell
aired a tribute to Lumet,[58] and a retrospective celebration of his work was held at New York's Lincoln Center
Lincoln Center
with the appearance of numerous speakers and film stars.[8] In October 2011, the organization Human Rights First
Human Rights First
inaugurated its "Sidney Lumet Award for Integrity in Entertainment" for the TV show, The Good Wife, along with giving awards to two Middle East activists who had worked for freedom and democracy. Lumet had worked with Human Rights First
Human Rights First
on a media project related to the depiction of torture and interrogation on television.[59]


Year Film Cast

1939 One Third of a Nation as an actor portraying Joey Rogers

1957 12 Angry Men Henry Fonda, Lee J. Cobb, Martin Balsam, Jack Warden, Ed Begley, E. G. Marshall, Joseph Sweeney

1958 Stage Struck Henry Fonda, Susan Strasberg, Christopher Plummer

1959 That Kind of Woman Sophia Loren, Tab Hunter, Jack Warden, Keenan Wynn, George Sanders

1960 The Fugitive Kind Marlon Brando, Joanne Woodward, Anna Magnani, Maureen Stapleton

1961 A View From the Bridge Raf Vallone, Jean Sorel, Carol Lawrence

1962 Long Day's Journey into Night Katharine Hepburn, Sir Ralph Richardson, Jason Robards, Dean Stockwell

1964 The Pawnbroker Rod Steiger, Geraldine Fitzgerald

1964 Fail Safe Henry Fonda, Dan O'Herlihy, Walter Matthau, Larry Hagman

1965 The Hill Sean Connery, Harry Andrews, Ian Bannen, Ossie Davis, Roy Kinnear, Sir Michael Redgrave

1966 The Group Candice Bergen, Joan Hackett

1966 The Deadly Affair James Mason, Harry Andrews, Simone Signoret, Maximilian Schell, Roy Kinnear

1968 Bye Bye Braverman George Segal, Jack Warden

1968 The Sea Gull Vanessa Redgrave, Simone Signoret, James Mason, David Warner, Denholm Elliott

1969 The Appointment Omar Sharif, Anouk Aimée

1970 King: A Filmed Record... Montgomery to Memphis Paul Newman
Paul Newman
(narration), Joanne Woodward
Joanne Woodward

1970 Last of the Mobile Hot Shots Lynn Redgrave, James Coburn

1971 The Anderson Tapes Sean Connery, Dyan Cannon, Martin Balsam, Alan King

1972 Child's Play James Mason, Robert Preston, Beau Bridges

1972 The Offence Sean Connery, Ian Bannen, Trevor Howard

1973 Serpico Al Pacino, Tony Roberts, John Randolph

1974 Lovin' Molly Anthony Perkins, Beau Bridges, Blythe Danner, Susan Sarandon

1974 Murder on the Orient Express Albert Finney, Lauren Bacall, Sean Connery, Ingrid Bergman, Martin Balsam, Anthony Perkins, Sir John Gielgud

1975 Dog Day Afternoon Al Pacino, John Cazale, Charles Durning

1976 Network Peter Finch, Faye Dunaway, William Holden, Robert Duvall, Ned Beatty

1977 Equus Richard Burton, Peter Firth, Joan Plowright

1978 The Wiz Diana Ross, Michael Jackson, Nipsey Russell, Ted Ross, Richard Pryor, Mabel King, Lena Horne

1980 Just Tell Me What You Want Alan King, Ali MacGraw, Tony Roberts, Keenan Wynn

1981 Prince of the City Treat Williams, Jerry Orbach

1982 Deathtrap Michael Caine, Christopher Reeve, Dyan Cannon

1982 The Verdict Paul Newman, Jack Warden, James Mason, Charlotte Rampling

1983 Daniel Timothy Hutton, Mandy Patinkin, Ellen Barkin

1984 Garbo Talks Anne Bancroft, Ron Silver, Carrie Fisher

1986 Power Richard Gere, Julie Christie, Gene Hackman

1986 The Morning After Jane Fonda, Jeff Bridges, Raúl Juliá

1988 Running on Empty River Phoenix, Judd Hirsch

1989 Family Business Sean Connery, Dustin Hoffman, Matthew Broderick

1990 Q & A Timothy Hutton, Nick Nolte, Armand Assante, Jenny Lumet

1992 A Stranger Among Us Melanie Griffith, John Pankow

1993 Guilty as Sin Don Johnson, Rebecca De Mornay, Jack Warden

1997 Night Falls on Manhattan Andy García, Ian Holm, Lena Olin, Richard Dreyfuss

1997 Critical Care James Spader, Kyra Sedgwick, Helen Mirren, Albert Brooks, Anne Bancroft

1999 Gloria Sharon Stone, George C. Scott, Jeremy Northam

2001–2002 100 Centre Street
100 Centre Street
(TV series) Alan Arkin, LaTanya Richardson

2004 Strip Search Glenn Close, Maggie Gyllenhaal

2006 Find Me Guilty Vin Diesel, Alex Rocco, Peter Dinklage

2007 Before the Devil Knows You're Dead Philip Seymour Hoffman, Ethan Hawke, Albert Finney, Marisa Tomei

Awards[edit] Academy Awards[edit] The following films directed by Lumet have received Academy Awards and nominations:

Year Film Nominations Awards

1957 12 Angry Men 3

1962 Long Day's Journey into Night 1

1964 The Pawnbroker 1

1970 King: A Filmed Record... Montgomery to Memphis 1

1973 Serpico 2

1974 Murder on the Orient Express 6 1

1975 Dog Day Afternoon 6 1

1976 Network 10 4

1977 Equus 3

1978 The Wiz 4

1981 Prince of the City 1

1982 The Verdict 5

1986 The Morning After 1

1988 Running on Empty 2

Other awards[edit]

Berlin International Film Festival

1966 The Group nominated for Competing Film[60] 1964 Pawnbroker nominated for Competing Film[61] 1959 That Kind of Woman
That Kind of Woman
nominated for Competing Film[62] 1957 12 Angry Men Won the Golden Bear
Golden Bear
for Best Film[63]

British Academy Film Awards

1977 Network nominated for Best Film 1975 Dog Day Afternoon
Dog Day Afternoon
nominated for Best Film 1974 Murder on the Orient Express nominated for Best Film 1967 Deadly Affair nominated for Best British Film 1965 The Hill nominated for Best British Film 1965 The Hill nominated for Best Film – Any Source 1957 12 Angry Men nominated for Best Film – Both Any Source and British

Cannes Film Festival

1992 A Stranger Among Us
A Stranger Among Us
nominated for in Competition[64] 1962 Long Day's Journey into Night nominated for Competing Film[25]

New York Film Critics Circle Awards

1981 Prince of the City won for Best Direction 1981 Prince of the City nominated for Best Film 1981 Prince of the City nominated for Best Screenplay 1976 Network nominated for Best Direction 1976 Network nominated for Best Film 1968 Sea Gull nominated for Best Film 1965 Pawnbroker nominated for Best Direction 1965 Pawnbroker nominated for Best Film 1964 Fail-Safe nominated for Best Direction 1957 12 Angry Men nominated for Best Direction 1957 12 Angry Men nominated for Best Film

Venice Film Festival

1981 Prince of the City nominated for Competing Film


^ a b Siegel, Scott and Barbara. The Encyclopedia of Hollywood (2004) Checkmark Books, 256 ^ a b c d e f ""TCM Biography"". Tcm.com. Retrieved 2017-01-04.  ^ Ebert, Roger. "Sidney Lumet: In memory" Chicago Sun Times, April 9, 2011 ^ a b c d e f g h i j k l m n Rapf, Joanna E. Sidney Lumet: Interviews, Univ. Press of Mississippi (2006) ^ "Sidney Lumet", The Sunday Herald, Scotland, April 10, 2011 ^ Garfield, David (1980). "Birth of The Actors Studio: 1947–1950". A Player's Place: The Story of the Actors Studio. New York: MacMillan Publishing Co., Inc. p. 52. ISBN 0-02-542650-8. Lewis' class included Herbert Berghof, Marlon Brando, Montgomery Clift, Mildred Dunnock, Tom Ewell, John Forsythe, Anne Jackson, Sidney Lumet, Kevin McCarthy, Karl Malden, E.G. Marshall, Patricia Neal, William Redfield, Jerome Robbins, Maureen Stapleton, Beatrice Straight, Eli Wallach, and David Wayne.  ^ Messina, Elizabeth (2012). What's His Name? John Fiedler: The Man the Face the Voice. AuthorHouse. p. 42. ISBN 9781468558586.  ^ a b Fleming, Mike. " Lincoln Center
Lincoln Center
Celebrates Sidney Lumet", June 27, 2011 ^ "Trailer Watch: Nancy Buirski Honors a Great in 'By Sidney Lumet'", Indiewire, April 1, 2016 ^ "Cannes: 'By Sidney Lumet' Doc Captures the Helmer's Radical, American Vision", The Hollywood Reporter, May 22, 2015 ^ a b " Treat Williams
Treat Williams
Recalls Sidney Lumet
Sidney Lumet
for PBS: He Was ‘A Ball of Fire’", Parade, Jan. 2, 2017 ^ PBS
"American Masters" ^ a b "Obituary: Sidney Lumet". BBC News. April 9, 2011. Retrieved April 10, 2011.  ^ "Film Obituaries; Sidney Lumet". The Daily Telegraph. London. April 9, 2011. Retrieved April 10, 2011.  ^ a b French, Philip (April 10, 2011). "Sidney Lumet, giant of American cinema, dies at 86 Film The Observer". The Observer. London: Guardian Media Group. Retrieved April 10, 2011.  ^ "Finding Aid for the Baruch Lumet Papers, 1955-1983". Oac.cdlib.org. 2014-12-01. Retrieved 2017-01-04.  ^ Honeycutt, Kirk (April 9, 2011). " Sidney Lumet
Sidney Lumet
Made New York City Star of His Films". The Hollywood Reporter. Retrieved April 10, 2011.  ^ Bridge of Light ( Yiddish
Film Between Two Worlds), pp. 208, 209, J. Hoberman, Museum of Modern Art, Published by Shocken Books, 1991, YIVO translations ^ a b c d e f Katz, Ephraim. The Film Encyclopedia (1998) Harper Collins, 856 ^ " Sidney Lumet
Sidney Lumet
Biography". Filmreference.com. Retrieved April 10, 2011.  ^ " Walter Cronkite
Walter Cronkite
– In Memoriam 1916–2009" PBS, July 20, 2009 ^ "The Movie That Made a Supreme Court Justice", New York Times, October 17, 2010 ^ a b c d e f g Bowles, Stephen E. International Dictionary of Films and Filmmakers, (2001) The Gale Group Inc. ^ " Sidney Lumet
Sidney Lumet
biography". Movies.nytimes.com. June 25, 1924. Retrieved April 11, 2011.  ^ a b "Festival de Cannes: Long Day's Journey into Night". festival-cannes.com. Retrieved February 23, 2009.  ^ a b Berkvist, Robert (April 9, 2011). "Sidney Lumet, Director of American Film Classics, Dies at 86". The New York Times. Retrieved April 9, 2011.  ^ Questions for Sidney Lumet, The New York Times
The New York Times
Magazine, November 23, 1997 ^ a b c "Director Sidney Lumet
Sidney Lumet
remembered by Hollywood stars". BBC. April 10, 2011. Retrieved April 10, 2011.  ^ a b "Sidney Lumet: Last of the Great Movie Moralists", FatherhoodChannel.com, April 10, 2011 ^ a b Gleiberman, Owen (April 9, 2011). " Sidney Lumet
Sidney Lumet
was the quintessential New York filmmaker, a prince of the city who captured our flawed souls". Entertainment Weekly. Retrieved April 19, 2011.  ^ a b Cunningham, Frank R. Sidney Lumet: Film and Literary Vision, Univ. Press of Kentucky (1991, 2001) p. 7 ^ "Director Sidney Lumet
Sidney Lumet
a hero of man battling pack", SFGate, April 15, 2011 ^ a b " Ali MacGraw
Ali MacGraw
Reflects on Her Career in Front of the Camera", Wall Street Journal, January 15, 2011 ^ " Jane Fonda
Jane Fonda
Remembers 'Kind And Generous' Sidney Lumet" Contactmusic.com, April 11, 2011 ^ a b Harpole, Charles, and Schatz, Thomas. History of the American Cinema: A New Pot of Gold, Simon and Schuster (2000) ^ Tomasulo, Frank P. More than a Method: Trends and Traditions in Contemporary Film Performance, Wayne State Univ. Press (2004) p. 64 ^ a b Mast, Gerald, and Kawin, Bruce F. A Short History of the Movies (2006) Pearson Education, Inc. 538 ^ a b c Thomson, David. "A Biographical Dictionary of Film" (1995) Alfred A. Knopf, 459 ^ Gale, Thomson. "Sidney Lumet". Encyclopedia of World Biography.  ^ Bernard, Ian. Film and Television Acting: From Stage to Screen, Focal Press (1998) ^ a b Hunter, Allan. Faye Dunaway, St. Martin's Press N.Y. (1986) pp. 144-145 ^ Tucker, Ken. Scarface Nation: The Ultimate Gangster Movie and How It Changed America, Macmillan (2011) e-book ^ Sharkey, Betsey. "Lumet was drawn to the messy business of simply being human", Los Angeles Times, April 11, 2011 ^ Lumet, Sidney. Cinema Nation (2000) Avalon Publishing, pgs. 271–275 ^ Blake, Richard A. Street Smart: The New York of Lumet, Allen, Scorsese, and Lee, Univ. of Kentucky Press (2005) p. 59 ^ "Private Screenings Rod Steiger" inverview with TCM's Robert Osbourne ^ a b c d e Desser, David; Friedman, Lester D. American Jewish Filmmakers, Univ. of Illinois Press (2004) ^ Lumet, Sidney. "Making Movies" (1996) Vintage Books, 58 ^ Chang, Justin. "Lumet weighed society's failings", Variety, April 10, 2011 ^ "'Before the Devil Knows You're Dead' Interview", Hollywood Archive ^ "Q&A With 'Before the Devil Knows You're Dead' Director Sidney Lumet". New York. September 24, 2007. Retrieved April 10, 2011.  ^ Sidney Lumet
Sidney Lumet
biography Archived August 14, 2006, at the Wayback Machine. on AMCTV.com. Retrieved August 30, 2006. ^ Coyle, Jack. AP Worldstream, February 28, 2005 ^ " Sidney Lumet
Sidney Lumet
gets honorary Oscar". London: Guardian. December 16, 2004. Retrieved April 11, 2011.  ^ a b " Steven Spielberg
Steven Spielberg
Remembers Sidney Lumet", The Hollywood Reporter, April 11, 2011 ^ Verniere, James. "Moral Complexity Remains Director Sidney Lumet's Speciality," The Boston Herald, May 16, 1997 ^ "Appreciating Sidney Lumet; Obits, Spike Lee
Spike Lee
Tweets, Photos and Clips" Archived April 14, 2011, at the Wayback Machine., Indiewire.com, April 10, 2011 ^ "Lawrence O’Donnell’s Tribute To Director Sidney Lumet
Sidney Lumet
Includes An F-Bomb", Mediaite.com", June 27, 2011 ^ "The Good Wife Wins Sidney Lumet
Sidney Lumet
Award for Integrity in Entertainment" Archived December 2, 2011, at the Wayback Machine. Human Rights First, press release, September 27, 2011 ^ "IMDB.com: Awards for The Group". imdb.com. Retrieved February 26, 2010.  ^ "Berlinale 1964: Prize Winners". berlinale.de. Retrieved February 20, 2010.  ^ "IMDB.com: Awards for That Kind of Woman". imdb.com. Retrieved January 10, 2010.  ^ "7th Berlin International Film Festival: Prize Winners". berlinale.de. Retrieved December 28, 2009.  ^ "Festival de Cannes: A Stranger Among Us". festival-cannes.com. Retrieved August 13, 2009. 

External links[edit]

Wikimedia Commons has media related to Sidney Lumet.

Sidney Lumet
Sidney Lumet
on IMDb Sidney Lumet
Sidney Lumet
at the Internet Broadway Database
Internet Broadway Database
Sidney Lumet
Sidney Lumet
at the Internet Off-Broadway Database "Last Word" New York Times April 21, 2011, video (14 minutes) Archive of American Television, TV Legends interview, 1999 video, 6-parts, 3 hours Fresh Air interview from 2006 (audio)

v t e

Films directed by Sidney Lumet

12 Angry Men (1957) Stage Struck (1958) That Kind of Woman
That Kind of Woman
(1959) The Fugitive Kind
The Fugitive Kind
(1960) A View from the Bridge
A View from the Bridge
(1962) Long Day's Journey into Night (1962) The Pawnbroker (1964) Fail Safe (1964) The Hill (1965) The Group (1966) The Deadly Affair
The Deadly Affair
(1966) Bye Bye Braverman
Bye Bye Braverman
(1968) The Sea Gull
The Sea Gull
(1968) The Appointment
The Appointment
(1969) King: A Filmed Record... Montgomery to Memphis (1970) Last of the Mobile Hot Shots
Last of the Mobile Hot Shots
(1970) The Anderson Tapes
The Anderson Tapes
(1971) Child's Play (1972) The Offence
The Offence
(1972) Serpico
(1973) Lovin' Molly
Lovin' Molly
(1974) Murder on the Orient Express (1974) Dog Day Afternoon
Dog Day Afternoon
(1975) Network (1976) Equus (1977) The Wiz (1978) Just Tell Me What You Want
Just Tell Me What You Want
(1980) Prince of the City (1981) Deathtrap (1982) The Verdict
The Verdict
(1982) Daniel (1983) Garbo Talks (1984) Power (1986) The Morning After (1986) Running on Empty (1988) Family Business (1989) Q & A (1990) A Stranger Among Us
A Stranger Among Us
(1992) Guilty as Sin
Guilty as Sin
(1993) Night Falls on Manhattan
(1997) Critical Care (1997) Gloria (1999) Strip Search (2004) Find Me Guilty
Find Me Guilty
(2006) Before the Devil Knows You're Dead
Before the Devil Knows You're Dead

v t e

Academy Honorary Award


Warner Bros.
Warner Bros.
/ Charlie Chaplin
Charlie Chaplin
(1928) Walt Disney
Walt Disney
(1932) Shirley Temple
Shirley Temple
(1934) D. W. Griffith
D. W. Griffith
(1935) The March of Time
The March of Time
/ W. Howard Greene and Harold Rosson (1936) Edgar Bergen
Edgar Bergen
/ W. Howard Greene / Museum of Modern Art
Museum of Modern Art
Film Library / Mack Sennett
Mack Sennett
(1937) J. Arthur Ball / Walt Disney
Walt Disney
/ Deanna Durbin
Deanna Durbin
and Mickey Rooney
Mickey Rooney
/ Gordon Jennings, Jan Domela, Devereaux Jennings, Irmin Roberts, Art Smith, Farciot Edouart, Loyal Griggs, Loren L. Ryder, Harry D. Mills, Louis Mesenkop, Walter Oberst / Oliver T. Marsh and Allen Davey / Harry Warner
Harry Warner
(1938) Douglas Fairbanks
Douglas Fairbanks
/ Judy Garland
Judy Garland
/ William Cameron Menzies / Motion Picture Relief Fund (Jean Hersholt, Ralph Morgan, Ralph Block, Conrad Nagel)/ Technicolor Company (1939) Bob Hope
Bob Hope
/ Nathan Levinson (1940) Walt Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company / Leopold Stokowski
Leopold Stokowski
and his associates / Rey Scott / British Ministry of Information (1941) Charles Boyer
Charles Boyer
/ Noël Coward
Noël Coward
/ Metro-Goldwyn-Mayer
(1942) George Pal
George Pal
(1943) Bob Hope
Bob Hope
/ Margaret O'Brien
Margaret O'Brien
(1944) Republic Studio, Daniel J. Bloomberg, and the Republic Studio Sound Department / Walter Wanger
Walter Wanger
/ The House I Live In / Peggy Ann Garner (1945) Harold Russell
Harold Russell
/ Laurence Olivier
Laurence Olivier
/ Ernst Lubitsch
Ernst Lubitsch
/ Claude Jarman Jr. (1946) James Baskett
James Baskett
/ Thomas Armat, William Nicholas Selig, Albert E. Smith, and George Kirke Spoor
George Kirke Spoor
/ Bill and Coo / Shoeshine (1947) Walter Wanger
Walter Wanger
/ Monsieur Vincent
Monsieur Vincent
/ Sid Grauman
Sid Grauman
/ Adolph Zukor
Adolph Zukor
(1948) Jean Hersholt
Jean Hersholt
/ Fred Astaire
Fred Astaire
/ Cecil B. DeMille
Cecil B. DeMille
/ The Bicycle Thief (1949) Louis B. Mayer
Louis B. Mayer
/ George Murphy
George Murphy
/ The Walls of Malapaga (1950)


Gene Kelly
Gene Kelly
/ Rashomon
(1951) Merian C. Cooper
Merian C. Cooper
/ Bob Hope
Bob Hope
/ Harold Lloyd
Harold Lloyd
/ George Mitchell / Joseph M. Schenck / Forbidden Games
Forbidden Games
(1952) 20th Century-Fox Film Corporation / Bell & Howell Company / Joseph Breen / Pete Smith (1953) Bausch & Lomb Optical Company / Danny Kaye
Danny Kaye
/ Kemp Niver / Greta Garbo / Jon Whiteley
Jon Whiteley
/ Vincent Winter / Gate of Hell (1954) Samurai I: Musashi Miyamoto (1955) Eddie Cantor
Eddie Cantor
(1956) Society of Motion Picture and Television Engineers
Society of Motion Picture and Television Engineers
/ Gilbert M. "Broncho Billy" Anderson / Charles Brackett / B. B. Kahane (1957) Maurice Chevalier
Maurice Chevalier
(1958) Buster Keaton
Buster Keaton
/ Lee de Forest
Lee de Forest
(1959) Gary Cooper
Gary Cooper
/ Stan Laurel
Stan Laurel
/ Hayley Mills
Hayley Mills
(1960) William L. Hendricks / Fred L. Metzler / Jerome Robbins
Jerome Robbins
(1961) William J. Tuttle
William J. Tuttle
(1964) Bob Hope
Bob Hope
(1965) Yakima Canutt
Yakima Canutt
/ Y. Frank Freeman
Y. Frank Freeman
(1966) Arthur Freed (1967) John Chambers / Onna White (1968) Cary Grant
Cary Grant
(1969) Lillian Gish
Lillian Gish
/ Orson Welles
Orson Welles
(1970) Charlie Chaplin
Charlie Chaplin
(1971) Charles S. Boren / Edward G. Robinson
Edward G. Robinson
(1972) Henri Langlois
Henri Langlois
/ Groucho Marx
Groucho Marx
(1973) Howard Hawks
Howard Hawks
/ Jean Renoir
Jean Renoir
(1974) Mary Pickford
Mary Pickford


Margaret Booth (1977) Walter Lantz
Walter Lantz
/ Laurence Olivier
Laurence Olivier
/ King
Vidor / Museum of Modern Art Department of Film (1978) Hal Elias / Alec Guinness
Alec Guinness
(1979) Henry Fonda
Henry Fonda
(1980) Barbara Stanwyck
Barbara Stanwyck
(1981) Mickey Rooney
Mickey Rooney
(1982) Hal Roach
Hal Roach
(1983) James Stewart
James Stewart
/ National Endowment for the Arts
National Endowment for the Arts
(1984) Paul Newman
Paul Newman
/ Alex North (1985) Ralph Bellamy
Ralph Bellamy
(1986) Eastman Kodak
Company / National Film Board of Canada
National Film Board of Canada
(1988) Akira Kurosawa
Akira Kurosawa
(1989) Sophia Loren
Sophia Loren
/ Myrna Loy
Myrna Loy
(1990) Satyajit Ray
Satyajit Ray
(1991) Federico Fellini
Federico Fellini
(1992) Deborah Kerr
Deborah Kerr
(1993) Michelangelo Antonioni
Michelangelo Antonioni
(1994) Kirk Douglas
Kirk Douglas
/ Chuck Jones
Chuck Jones
(1995) Michael Kidd
Michael Kidd
(1996) Stanley Donen
Stanley Donen
(1997) Elia Kazan
Elia Kazan
(1998) Andrzej Wajda
Andrzej Wajda
(1999) Jack Cardiff
Jack Cardiff
/ Ernest Lehman (2000)


Sidney Poitier
Sidney Poitier
/ Robert Redford
Robert Redford
(2001) Peter O'Toole
Peter O'Toole
(2002) Blake Edwards
Blake Edwards
(2003) Sidney Lumet
Sidney Lumet
(2004) Robert Altman
Robert Altman
(2005) Ennio Morricone
Ennio Morricone
(2006) Robert F. Boyle (2007) Lauren Bacall
Lauren Bacall
/ Roger Corman
Roger Corman
/ Gordon Willis
Gordon Willis
(2009) Kevin Brownlow / Jean-Luc Godard
Jean-Luc Godard
/ Eli Wallach
Eli Wallach
(2010) James Earl Jones
James Earl Jones
/ Dick Smith (2011) D. A. Pennebaker
D. A. Pennebaker
/ Hal Needham
Hal Needham
/ George Stevens Jr.
George Stevens Jr.
(2012) Angela Lansbury
Angela Lansbury
/ Steve Martin
Steve Martin
/ Piero Tosi (2013) Jean-Claude Carrière
Jean-Claude Carrière
/ Hayao Miyazaki
Hayao Miyazaki
/ Maureen O'Hara
Maureen O'Hara
(2014) Spike Lee
Spike Lee
/ Gena Rowlands
Gena Rowlands
(2015) Jackie Chan
Jackie Chan
/ Lynn Stalmaster / Anne V. Coates / Frederick Wiseman (2016) Charles Burnett / Owen Roizman / Donald Sutherland
Donald Sutherland
/ Agnès Varda (2017)

v t e

Golden Globe Award for Best Director

Henry King
(1943) Leo McCarey (1944) Billy Wilder
Billy Wilder
(1945) Frank Capra
Frank Capra
(1946) Elia Kazan
Elia Kazan
(1947) John Huston
John Huston
(1948) Robert Rossen
Robert Rossen
(1949) Billy Wilder
Billy Wilder
(1950) László Benedek (1951) Cecil B. DeMille
Cecil B. DeMille
(1952) Fred Zinnemann
Fred Zinnemann
(1953) Elia Kazan
Elia Kazan
(1954) Joshua Logan (1955) Elia Kazan
Elia Kazan
(1956) David Lean
David Lean
(1957) Vincente Minnelli
Vincente Minnelli
(1958) William Wyler
William Wyler
(1959) Jack Cardiff
Jack Cardiff
(1960) Stanley Kramer
Stanley Kramer
(1961) David Lean
David Lean
(1962) Elia Kazan
Elia Kazan
(1963) George Cukor
George Cukor
(1964) David Lean
David Lean
(1965) Fred Zinnemann
Fred Zinnemann
(1966) Mike Nichols
Mike Nichols
(1967) Paul Newman
Paul Newman
(1968) Charles Jarrott (1969) Arthur Hiller
Arthur Hiller
(1970) William Friedkin
William Friedkin
(1971) Francis Ford Coppola
Francis Ford Coppola
(1972) William Friedkin
William Friedkin
(1973) Roman Polanski
Roman Polanski
(1974) Miloš Forman
Miloš Forman
(1975) Sidney Lumet
Sidney Lumet
(1976) Herbert Ross (1977) Michael Cimino
Michael Cimino
(1978) Francis Ford Coppola
Francis Ford Coppola
(1979) Robert Redford
Robert Redford
(1980) Warren Beatty
Warren Beatty
(1981) Richard Attenborough
Richard Attenborough
(1982) Barbra Streisand
Barbra Streisand
(1983) Miloš Forman
Miloš Forman
(1984) John Huston
John Huston
(1985) Oliver Stone
Oliver Stone
(1986) Bernardo Bertolucci
Bernardo Bertolucci
(1987) Clint Eastwood
Clint Eastwood
(1988) Oliver Stone
Oliver Stone
(1989) Kevin Costner
Kevin Costner
(1990) Oliver Stone
Oliver Stone
(1991) Clint Eastwood
Clint Eastwood
(1992) Steven Spielberg
Steven Spielberg
(1993) Robert Zemeckis
Robert Zemeckis
(1994) Mel Gibson
Mel Gibson
(1995) Miloš Forman
Miloš Forman
(1996) James Cameron
James Cameron
(1997) Steven Spielberg
Steven Spielberg
(1998) Sam Mendes
Sam Mendes
(1999) Ang Lee
Ang Lee
(2000) Robert Altman
Robert Altman
(2001) Martin Scorsese
Martin Scorsese
(2002) Peter Jackson
Peter Jackson
(2003) Clint Eastwood
Clint Eastwood
(2004) Ang Lee
Ang Lee
(2005) Martin Scorsese
Martin Scorsese
(2006) Julian Schnabel
Julian Schnabel
(2007) Danny Boyle
Danny Boyle
(2008) James Cameron
James Cameron
(2009) David Fincher
David Fincher
(2010) Martin Scorsese
Martin Scorsese
(2011) Ben Affleck
Ben Affleck
(2012) Alfonso Cuarón
Alfonso Cuarón
(2013) Richard Linklater
Richard Linklater
(2014) Alejandro G. Iñárritu (2015) Damien Chazelle
Damien Chazelle
(2016) Guillermo del Toro
Guillermo del Toro

v t e

Los Angeles Film Critics Association Award for Best Director

Sidney Lumet
Sidney Lumet
(1975) Sidney Lumet
Sidney Lumet
(1976) Herbert Ross (1977) Michael Cimino
Michael Cimino
(1978) Robert Benton (1979) Roman Polanski
Roman Polanski
(1980) Warren Beatty
Warren Beatty
(1981) Steven Spielberg
Steven Spielberg
(1982) James L. Brooks
James L. Brooks
(1983) Miloš Forman
Miloš Forman
(1984) Terry Gilliam
Terry Gilliam
(1985) David Lynch
David Lynch
(1986) John Boorman
John Boorman
(1987) David Cronenberg
David Cronenberg
(1988) Spike Lee
Spike Lee
(1989) Martin Scorsese
Martin Scorsese
(1990) Barry Levinson
Barry Levinson
(1991) Clint Eastwood
Clint Eastwood
(1992) Jane Campion
Jane Campion
(1993) Quentin Tarantino
Quentin Tarantino
(1994) Mike Figgis
Mike Figgis
(1995) Mike Leigh
Mike Leigh
(1996) Curtis Hanson
Curtis Hanson
(1997) Steven Spielberg
Steven Spielberg
(1998) Sam Mendes
Sam Mendes
(1999) Steven Soderbergh
Steven Soderbergh
(2000) David Lynch
David Lynch
(2001) Pedro Almodóvar
Pedro Almodóvar
(2002) Peter Jackson
Peter Jackson
(2003) Alexander Payne
Alexander Payne
(2004) Ang Lee
Ang Lee
(2005) Paul Greengrass
Paul Greengrass
(2006) Paul Thomas Anderson
Paul Thomas Anderson
(2007) Danny Boyle
Danny Boyle
(2008) Kathryn Bigelow
Kathryn Bigelow
(2009) Olivier Assayas
Olivier Assayas
/ David Fincher
David Fincher
(2010) Terrence Malick
Terrence Malick
(2011) Paul Thomas Anderson
Paul Thomas Anderson
(2012) Alfonso Cuarón
Alfonso Cuarón
(2013) Richard Linklater
Richard Linklater
(2014) George Miller (2015) Barry Jenkins
Barry Jenkins
(2016) Guillermo del Toro
Guillermo del Toro
/ Luca Guadagnino
Luca Guadagnino

Authority control

WorldCat Identities VIAF: 112355762 LCCN: n79011000 ISNI: 0000 0001 0936 4511 GND: 119049597 SUDOC: 033436576 BNF: cb13896863c (data) NLA: 35770956 NDL: 00729756 NKC: pna2008456622 BNE: XX1295381 SN