Israel MOVIE POSTER Film DOG DAY AFTERNOON Hebrew AL PACINO Sidney LUMET Jewish

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Seller: Top-Rated Seller judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285704705399 Israel MOVIE POSTER Film DOG DAY AFTERNOON Hebrew AL PACINO Sidney LUMET Jewish.

DESCRIPTION : Here for sale is an almost 40 years old EXCEPTIONALY RARE and ORIGINAL Jewish Judaica POSTER for the ISRAEL 1976 PREMIERE of SIDNEY LUMET legendary and ACADEMY AWARDS PRIZE Nominee and WINNER - CRIME THRILLER - SUSPENSE - DRAMA film " DOG DAY AFTERNOON " .  Starring AL PACINO and JOHN CAZALE to name only a few in the cinema-movie hall " CINEMA SHARON" in the small rural town of NATHANYA in ISRAEL . "CINEMA SHARON" , A local Israeli version of "Cinema Paradiso" was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND.  Fully DATED 1976 . Text in HEBREW  . Please note : This is NOT a re-release poster but PREMIERE - FIRST RELEASE projection of the film , One year after its release in 1975 in USA and worldwide . The ISRAELI distributors of the film have given it  an amusing and quite archaic Hebrew text  and also a brand new Hebrew name " An AFTERNOON of CALAMITY " . The poster also advertises a Turkish film in a matinee show. GIANT size around 28" x 38"   ( Not accurate ) . Printed in red and blue on white paper  .  The condition is very good . Slightly stained. Folded twice( Pls look at scan for accurate AS IS  images )  Poster will be sent rolled in a special protective rigid sealed tube.

AUTHENTICITY : This poster is guaranteed ORIGINAL from 1976 ( Fully dated )  , NOT a reprint or a recently made immitation.  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.

PAYMENTS : Payment method accepted : Paypal  & All credit cards.

SHIPPMENT :  SHIPP worldwide via  registered airmail is $ 25. Poster will be sent rolled in a special protective rigid sealed tube.  Handling around 5-10 days after payment.

Dog Day Afternoon is a 1975 American crime drama film directed by Sidney Lumet, written by Frank Pierson, and produced by Martin Bregman and Martin Elfand. The film stars Al Pacino, John Cazale, Charles Durning, Chris Sarandon, Penelope Allen, James Broderick, Lance Henriksen, and Carol Kane. The title refers to the sultry "dog days" of summer. The film was inspired by P.F. Kluge's article "The Boys in the Bank",[2] which tells a similar story of the robbery of a Brooklyn bank by John Wojtowicz and Salvatore Naturale on August 22, 1972. This article was published in Life in 1972.[3] The film received critical acclaim upon its September 1975 release by Warner Bros., some of which referred to its anti-establishment tone. Dog Day Afternoon was nominated for several Academy Awards and Golden Globe awards, and won one Academy Award. Contents 1 Plot2 Cast3 Historical accuracy4 Production5 Response 5.1 Critical reaction6 Accolades7 See also8 References9 External links Plot First-time crook Sonny Wortzik (Al Pacino), his friend Salvatore "Sal" Naturale (John Cazale), and Stevie (Gary Springer) attempt to rob the First Brooklyn Savings Bank. The plan immediately goes awry when Stevie loses his nerve shortly after Sal pulls out his gun, and Sonny is forced to let him flee the scene. In the vault, Sonny discovers that he and Sal have arrived after the daily cash pickup, and only $1,100 in cash remains in the bank. To compensate, Sonny takes a number of traveler's cheques, but his attempt to prevent the cheques from being traced by burning the bank's register in a trash can causes smoke to billow out the side of the building, alerting the business across the street to suspicious activities. Within minutes, the building is surrounded by the police. Unsure of what to do, the two robbers camp out in the bank, holding all the workers hostage. Police Detective Sergeant Eugene Moretti (Charles Durning) calls the bank to tell Sonny that the police have arrived. Sonny warns that he and Sal have hostages and will kill them if anyone tries coming into the bank. Sal tells Sonny that he is ready to kill the hostages if necessary. Detective Moretti acts as hostage negotiator, while FBI Agent Sheldon (James Broderick) monitors his actions. Howard Calvin (John Marriott), the security guard, has an asthma attack, so Sonny releases him when Moretti asks for a hostage as a sign of good faith. Moretti convinces Sonny to step outside the bank to see how aggressive the police forces are. Using head teller Sylvia "The Mouth" (Penelope Allen) as a shield, Sonny exits the bank and begins a dialogue with Moretti that culminates in his shouting "Attica! Attica!" (invoking the recent Attica Prison riot), and the civilian crowd starts cheering for Sonny. After realizing they cannot make a simple getaway, Sonny demands that a helicopter be landed on the roof to fly him and Sal out of the country. When they are informed that the asphalt roof of the bank will not support a helicopter, Sonny demands that a vehicle drive him and Sal to an airport so that they can board a jet. He also demands pizzas for the hostages (which are delivered to the scene) and that his wife be brought to the bank. When Sonny's wife, Leon Shermer (Chris Sarandon), a pre-operative transsexual, arrives, she reveals to the crowd and officials one of Sonny's reasons for robbing the bank is to pay for Leon's sex reassignment surgery, and that Sonny also has an estranged divorced wife, Angie (Susan Peretz), and children. As night sets in, the lights in the bank all shut off. Sonny goes outside again and discovers that Agent Sheldon has taken command of the scene. He refuses to give Sonny any more favors, but when the bank manager, Mulvaney (Sully Boyar), goes into a diabetic shock, Agent Sheldon lets a doctor (Philip Charles MacKenzie) through. While the doctor is inside the bank, Sheldon convinces Leon to talk to Sonny on the phone. The two have a lengthy conversation that reveals Leon had attempted suicide to "get away from" Sonny. She had been hospitalized at the psychiatric ward of Bellevue Hospital until the police brought her to the scene. Leon turns down Sonny's offer to join him and Sal to wherever they take the plane. Sonny tells police listening to the phone call that Leon had nothing to do with the robbery attempt. After the phone call, the doctor asks Sonny to let Mulvaney leave and Sonny agrees. Mulvaney refuses, instead insisting that he remain with his employees. The FBI calls Sonny out of the bank again. They have brought his mother to the scene. She unsuccessfully tries persuading him to give himself up, and Agent Sheldon signals that a limousine will arrive in 10 minutes to take them to a waiting jet. Once back inside the bank, Sonny writes out his will, leaving money from his life insurance to Leon for his sex change and to Angie. When the limousine arrives, Sonny checks it for any hidden weapons or booby traps. When he decides the car is satisfactory, he settles on Agent Murphy (Lance Henriksen) to drive Sonny, Sal, and the remaining hostages to Kennedy Airport. Per Sonny's earlier agreement, an additional hostage, Edna (Estelle Omens) is released, and the remaining hostages get into the limousine with Sonny and Sal. Sonny sits in the front next to Murphy while Sal sits behind them. Murphy repeatedly asks Sal to point his gun at the roof so Sal won't accidentally shoot him. As they wait on the airport tarmac for the plane to taxi into position, he again reminds Sal to aim his gun up so he does not fire by accident. Sal does so, and Agent Sheldon forces Sonny's weapon onto the dashboard, creating a distraction which allows Murphy to pull a revolver hidden in his armrest and shoot Sal in the head. Sonny is immediately arrested and the hostages are all escorted to the terminal. The film ends with Sonny watching Sal's body being taken from the car on a stretcher. Subtitles reveal that Sonny was sentenced to 20 years in prison, Angie and her children subsisted on welfare, and Leon had her sex reassignment surgery. Cast The Life article described Wojtowicz as "a dark, thin fellow with the broken-faced good looks of an Al Pacino or Dustin Hoffman".[3] Hoffman would later be offered the role when Pacino briefly quit the production. An 18-year-old actor was originally to be cast in the role of Sal to match the age of the actual Salvatore.[4] The table below summarizes the main cast of Dog Day Afternoon.[3] Character Actor Role Similar person from Life article Sonny Wortzik Al Pacino Bank robber John Wojtowicz Salvatore "Sal" Naturale John Cazale Sonny's partner in the robbery Salvatore "Sal" Naturale Sergeant Eugene Moretti Charles Durning Police Sergeant who originally negotiates with Sonny NYPD Police Chief of Detectives Louis C. Cottell Agent Sheldon James Broderick FBI agent who replaces Moretti in negotiations Agent Richard Baker Agent Murphy Lance Henriksen FBI agent/driver Agent Murphy Leon Shermer Chris Sarandon Sonny's pre-operative transgender wife Elizabeth Eden Sylvia "Mouth" Penelope Allen Head teller Shirley "Mouth" Ball Mulvaney Sully Boyar Bank manager Robert Barrett Angela "Angie" Wortzik Susan Peretz Sonny's wife Carmen "Mouth" Bifulco Jenny "The Squirrel" Carol Kane Bank teller Margaret Beulah Garrick Bank teller Deborah Sandra Kazan Bank teller Edna Estelle Omens Bank teller Josephine Tuttino Miriam Marcia Jean Kurtz Bank teller Maria Amy Levitt Kathleen Amore Stevie Gary Springer Bank robber Robert Westenberg Howard Calvin John Marriott Unarmed bank guard Calvin Jones Doctor Philip Charles MacKenzie Doctor who treats Mulvaney Doctor Carmine Carmine Foresta Phone cop Floyd Levine Limo driver Dick Anthony Williams Sonny's father Dominic Chianese Neighbor Marcia Haufrecht Sonny's mother Judith Malina Theresa Basso-Wojtowicz TV anchorman William Bogert TV reporter Ron Cummins Sam Jay Gerber Insurance salesman from across the street Joe Anterio Maria's boyfriend Edwin "Chu Chu" Malave Pizza boy Lionel Pina Historical accuracy The location of the actual event, 450 Avenue P, Brooklyn, New York (1975 photo). The film was based on the story of John Wojtowicz and adheres to the basic facts of what happened, according to the Life article "The Boys in the Bank". Wojtowicz, along with Sal Naturale, held up a Chase Manhattan Bank branch in Brooklyn, New York on August 22, 1972.[3] After being apprehended, Wojtowicz was convicted in court and sentenced to twenty years in prison, of which he served six.[5] Wojtowicz wrote a letter to The New York Times in 1975 out of concern that people would believe the version of the events portrayed in the film, which he said was "only 30% true". Some of Wojtowicz's objections included the portrayal of his wife Carmen Bifulco, the conversation with his mother that Wojtowicz claimed never happened, and the refusal of police to let him speak to his wife Carmen (unlike what was portrayed in the film). He did, however, praise Al Pacino and Chris Sarandon's portrayals of him and his wife Elizabeth Eden as accurate.[6] Also, Sal was 18 years old, yet is portrayed in the film by then 39-year-old John Cazale. The film shows Sonny making out a will to give Leon his life insurance so that even if Sonny should be killed, Leon might still be able to pay for the operation. The real-life Wojtowicz was paid $7500, plus 1% of the film's net profits, for the rights to his story, from which he gave to Eden enough to pay for her sexual reassignment surgery.[7] Aron became Elizabeth Debbie Eden[8] and lived out the rest of her days in New York.[citation needed] She died of complications from AIDS in Rochester in 1987.[9] Wojtowicz died of cancer in January 2006. The robbery took place at a branch of the Chase Manhattan Bank, at 450 Avenue P in Brooklyn on the cross street of East 3rd Street, in Gravesend.[10] As of 2012 the building still stands, though it has been through various retail uses since 1972. Production The original inspiration for the film was an article written by P. F. Kluge and Thomas Moore for Life in September 1972. The article included many of the details later used in the film and noted the relationship which Wojtowicz and Naturale developed with hostages and the police. Bank manager Robert Barrett said, "I'm supposed to hate you guys [Wojtowicz/Naturale], but I've had more laughs tonight than I've had in weeks. We had a kind of camaraderie." Teller Shirley Bell said,"[I]f they had been my houseguests on a Saturday night, it would have been hilarious."[3] The novelization of the film was penned by organized crime writer Leslie Waller. The film has no musical score other than three songs, which are diegetic—"Amoreena" by Elton John (which first appeared on his 1970 album Tumbleweed Connection), which Sonny, Sal, and Stevie are listening to in their car in the opening credits—, the Faces song "Stay With Me", and "Easy Livin'" by Uriah Heep (band), which both briefly play on the radio during scenes inside the bank.[11] Although many scenes within the bank establish that it was quite hot during the robbery, some outdoor sequences were shot in weather so cold that actors had to put ice in their mouths to stop their breath from showing on camera.[12] Exterior shots were filmed on location on Prospect Park West between 17th and 18th Street in Windsor Terrace of Brooklyn. The interior shots of the bank were filmed in a set created in a warehouse.[13][14] Though the actors kept to the basic text of the script as written by Frank Pierson, director Lumet encouraged them to improvise and workshop scenes to create more natural dialogue. Changes made through this process included Cazale's memorable reply when asked what country he'd like to go to ("Wyoming"), and Durning and Pacino's aggressive dialogue after shots are fired within the bank.[15] Response Although Dog Day Afternoon was released nationally in 1975, it is based on events that took place in Brooklyn three years earlier, in 1972. During this era of thick and extremely heavy opposition to the Vietnam war, "anti-establishment" Sonny repeats the counter-cultural war cry of "Attica!" in reference to the 1971 Attica Prison riots.[16] Critical reaction Upon its release, Dog Day Afternoon received largely positive reviews. The film holds a 95% "fresh" rating on Rotten Tomatoes.[17] Vincent Canby called it "Sidney Lumet's most accurate, most flamboyant New York movie" and praised the "brilliant characterizations" by the entire cast.[18] Roger Ebert called Sonny "one of the most interesting modern movie characters" and gave the movie three-and-a-half stars out of four.[19] As time has passed, the film has continued to generate a positive critical reception. For example, Christopher Null has said that the film "captures perfectly the zeitgeist of the early 1970s, a time when optimism was scraping rock bottom" and that "John Wojtowicz was as good a hero as we could come up with".[20] P.F. Kluge, author of the article that inspired the film, believed that the filmmakers "stayed with the surface of a lively journalistic story" and that the film had a "strong, fast-paced story" without "reflection" or "a contemplative view of life".[2] Dog Day Afternoon also ranks 443rd on Empire‍‍ '​‍s 2008 list of the 500 greatest movies of all time.[21] Vrij Nederland named the bank robbery scene the third best bank robbery in film history, behind bank robbery scenes from Raising Arizona (1987) and Heat (1995).[22] Accolades Dog Day Afternoon won the Academy Award for Writing – Original Screenplay (Frank Pierson) and was nominated for other Oscars:[23] Best Picture (Martin Bregman and Martin Elfand)Best Director (Sidney Lumet)Best Actor in a Leading Role (Al Pacino)Best Actor in a Supporting Role (Chris Sarandon)Best Film Editing (Dede Allen) The film was also nominated for the following seven Golden Globes, winning none:[23] Best Motion Picture – DramaBest Director – Motion Picture (Sidney Lumet)Best Motion Picture Actor – Drama (Al Pacino)Best Screenplay – Motion Picture (Frank Pierson)Best Supporting Actor – Motion Picture (Charles Durning)Best Supporting Actor – Motion Picture (John Cazale)Best Acting Debut in a Motion Picture – Male (Chris Sarandon) The film won other awards, including an NBR Award for Best Supporting Actor (Charles Durning) and a Writers Guild Award for Best Drama Written Directly for the Screen (Frank Pierson) as well as the British Academy Award for Best Actor (Al Pacino). The film is also #70 on AFI's 100 Years... 100 Thrills list.[24] Also Al Pacino's quote, "Attica! Attica!" placed at #86 on AFI's 100 Years...100 Movie Quotes. It was nominated for AFI's 100 Years...100 Movies in 1998[25] and 2007.[26] In 2006, Premiere magazine issued its "100 Greatest Performances of All Time", citing Pacino's performance as Sonny as the 4th greatest ever.[27] In 2009, it was named to the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant and will be preserved in the National Film Archive.[28] Based on a true 1972 story, Sidney Lumet's 1975 drama chronicles a unique bank robbery on a hot summer afternoon in New York City. Shortly before closing time, scheming loser Sonny (Al Pacino) and his slow-witted buddy, Sal (John Cazale), burst into a Brooklyn bank for what should be a run-of-the-mill robbery, but everything goes wrong, beginning with the fact that there is almost no money in the bank. The situation swiftly escalates, as Sonny and Sal take hostages; enough cops to police the tristate area surround the bank; a large Sonny-sympathetic crowd gathers to watch; the media arrive to complete the circus; and police captain Moretti (Charles Durning) tries to negotiate with Sonny while keeping the volatile spectacle under control. When Sonny's lover, Leon (Chris Sarandon), tries to talk Sonny out of the bank, we learn the robbery's motive: to finance Leon's sex-change operation. Sonny demands a plane to escape, but the end is near once menacingly cool FBI agent Sheldon (James Broderick) arrives to take over the negotiations. Alfredo James "Al" Pacino (/pəˈtʃiːnoʊ/; born April 25, 1940) is an American actor of stage and screen, filmmaker and screenwriter. Often considered by audiences and commentators to be one of the greatest actors of all time,[1] Pacino has had a career spanning more than fifty years, during which time he has received numerous accolades and honors both competitive and honorary, among them an Academy Award, two Tony Awards, two Primetime Emmy Awards, a British Academy Film Award, four Golden Globe Awards, the Lifetime Achievement Award from the American Film Institute, the Golden Globe Cecil B. DeMille Award, and the National Medal of Arts. He is also one of few performers to have won a competitive Oscar, an Emmy and a Tony Award for acting, dubbed the "Triple Crown of Acting". A method actor and former student of the Herbert Berghof Studio and the Actors Studio in New York City, where he was taught by Charlie Laughton and Lee Strasberg, Pacino made his feature film debut with a minor role in Me, Natalie (1969) and gained favourable notices for his lead role as a heroin addict in The Panic in Needle Park (1971). He achieved international acclaim and recognition for his breakthrough role as Michael Corleone in Francis Ford Coppola's The Godfather (1972). He received his first Oscar nomination and would reprise the role in sequels Part II (1974) and Part III (1990). Pacino's performance as Corleone is now regarded as one of the greatest screen performances in film history. Pacino received his first Best Actor Oscar nomination for Serpico (1973); he was also nominated for The Godfather Part II, Dog Day Afternoon (1975) and ...And Justice for All (1979) and won the award in 1993 for his performance as a blind Lieutenant Colonel in Scent of a Woman (1992). For his performances in The Godfather, Dick Tracy (1990) and Glengarry Glen Ross (1992), Pacino was nominated for the Academy Award for Best Supporting Actor. Other notable roles include Tony Montana in Scarface (1983), Carlito Brigante in Carlito's Way (1993), Lieutenant Vincent Hanna in Heat (1995), Benjamin Ruggiero in Donnie Brasco (1997), Lowell Bergman in The Insider (1999) and Detective Will Dormer in Insomnia (2002). In television, Pacino has acted in several productions for HBO including the miniseries Angels in America (2003) and the Jack Kevorkian biopic You Don't Know Jack (2010), both of which won him the Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie. In addition to his work in film, Pacino has had an extensive career on stage and is a two-time Tony Award winner, in 1969 and 1977, for his performances in Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel respectively. A lifelong fan of Shakespeare, Pacino directed and starred in Looking for Richard (1996), a documentary film about the play Richard III, a role which Pacino had earlier portrayed on-stage in 1977. He has also acted as Shylock in a 2004 feature film adaptation and a 2010 production of The Merchant of Venice. Having made his filmmaking debut with Looking for Richard, Pacino has also directed and starred in the independent film Chinese Coffee (2000) and the films Wilde Salomé (2011) and Salomé (2013) about the play Salomé by Oscar Wilde. Since 1994, Pacino has been the joint president of the Actors Studio with Ellen Burstyn and Harvey Keitel. Contents 1 Early life and education2 Actors Studio training3 Stage career4 Film career 4.1 Early film career4.2 1970s4.3 1980s4.4 1990s4.5 2000s4.6 2010s5 Personal life6 Filmography7 Awards and nominations8 See also9 References10 Bibliography11 External links Early life and education Pacino was born in New York City (East Harlem),[2] to Sicilian-American parents Salvatore Pacino and Rose, who divorced when he was two years old.[2] His mother moved near the Bronx Zoo to live with her parents, Kate and James Gerardi, who, coincidentally, had come from a town in Sicily named Corleone.[3] His father, who was from San Fratello in the Province of Messina, moved to Covina, California, and worked as an insurance salesman and restaurateur.[2] In his teen years "Sonny", as he was known to his friends, aimed to become a baseball player, and was also nicknamed "The Actor".[4] Pacino dropped out of many classes, but not English. He dropped out of school at age 17. His mother disagreed with his decision; they argued and he left home. He worked at low-paying jobs, messenger, busboy, janitor, and postal clerk, to finance his acting studies.[2] He once worked in the mail room for Commentary magazine.[5] He began smoking at age nine, and drinking, and took up casual cannabis use at age thirteen, but never used hard drugs.[6] His two closest friends died from drug abuse at the ages of 19 and 30.[7] Growing up in The Bronx, he got into occasional fights and was considered something of a troublemaker at school.[8] He acted in basement plays in New York's theatrical underground but was rejected for the Actors Studio while a teenager.[4] Pacino then joined the Herbert Berghof Studio (HB Studio), where he met acting teacher Charlie Laughton (not to be confused with the British actor Charles Laughton), who became his mentor and best friend.[4] In this period, he was often unemployed and homeless, and sometimes slept on the street, in theaters, or at friends' houses.[3][9] In 1962, his mother died at the age of 43.[10] The following year, Pacino's grandfather James Gerardi, one of the most influential people in his life, also died.[2] Actors Studio training After four years at HB Studio, Pacino successfully auditioned for the Actors Studio.[4] The Actors Studio is a membership organization of professional actors, theatre directors and playwrights in the Hell's Kitchen neighborhood of Manhattan in New York City.[11] Pacino studied "method acting"[2] under acting coach Lee Strasberg, who later appeared with Pacino in the films The Godfather Part II and in ...And Justice for All.[3] During later interviews he spoke about Strasberg and the Studio's effect on his career. "The Actors Studio meant so much to me in my life. Lee Strasberg hasn't been given the credit he deserves ... Next to Charlie, it sort of launched me. It really did. That was a remarkable turning point in my life. It was directly responsible for getting me to quit all those jobs and just stay acting."[12] In another interview he added, "It was exciting to work for him [Lee Strasberg] because he was so interesting when he talked about a scene or talked about people. One would just want to hear him talk, because things he would say, you'd never heard before ... He had such a great understanding ... he loved actors so much."[13] Pacino is currently co-president, along with Ellen Burstyn and Harvey Keitel, of the Actors Studio.[11] Stage career In 1967, Pacino spent a season at the Charles Playhouse in Boston, performing in Clifford Odets' Awake and Sing! (his first major paycheck: $125 a week); and in Jean-Claude Van Itallie's America, Hurrah, where he met actress Jill Clayburgh on this play. They had a five-year romance and moved together back to New York City.[14] Al Pacino in The Basic Training of Pavlo Hummel (1971) In 1968, Pacino starred in Israel Horovitz's The Indian Wants the Bronx at the Astor Place Theater, playing Murph, a street punk. The play opened January 17, 1968, and ran for 177 performances; it was staged in a double bill with Horovitz's It's Called the Sugar Plum, starring Clayburgh. Pacino won an Obie Award for Best Actor for his role, with John Cazale winning for Best Supporting actor and Horowitz for Best New Play.[15] Martin Bregman saw the play and became Pacino's manager, a partnership that became fruitful in the years to come, as Bregman encouraged Pacino to do The Godfather, Serpico and Dog Day Afternoon.[16] "Martin Bregman discovered me off Broadway. I was 26, 25. And he discovered me and became my manager. And that's why I'm here. I owe it to Marty, I really do," Pacino himself has recently stated about his own career.[17] Pacino and this production of The Indian Wants the Bronx traveled to Italy for a performance at the Festival dei Due Mondi in Spoleto. It was Pacino's first journey to Italy; he later recalled that "performing for an Italian audience was a marvelous experience".[14] Pacino and Clayburgh were cast in "Deadly Circle of Violence", an episode of the ABC television series NYPD, premiering November 12, 1968. Clayburgh at the time was also appearing on the soap opera Search for Tomorrow, playing the role of Grace Bolton. Her father would send the couple money each month to help.[18] On February 25, 1969, Pacino made his Broadway debut in Don Petersen's Does a Tiger Wear a Necktie? at the Belasco Theater produced by A&P Heir Huntington Hartford. It closed after 39 performances on March 29, 1969, but Pacino received rave reviews and won the Tony Award on April 20, 1969.[14] Pacino continued performing onstage in the 1970s, winning a second Tony Award for The Basic Training of Pavlo Hummel and performing the title role in Richard III.[2] In the 1980s, Pacino again achieved critical success on stage while appearing in David Mamet's American Buffalo, for which Pacino was nominated for a Drama Desk Award.[2] Since 1990, Pacino's stage work has included revivals of Eugene O'Neill's Hughie, Oscar Wilde's Salome and in 2005 Lyle Kessler's Orphans.[19] Pacino made his return to the stage in summer 2010, as Shylock in a Shakespeare in the Park production of The Merchant of Venice.[20] The acclaimed production moved to Broadway at the Broadhurst Theatre in October, earning US$1 million at the box office in its first week.[21][22] The performance also garnered him a Tony Award nomination for Best Leading Actor in a Play.[23] In October 2012 Pacino starred in the 30th anniversary Broadway revival of David Mamet's classic play, Glengarry Glen Ross, which ran through January 20, 2013.[24] Presently, he is starring on Broadway in "China Doll", a play written for him by David Mamet. It is a limited run of 87 performances, after acclaimed reviews of 4 performances in October 2015. The play is currently running as of November 2015.[citation needed] Film career Early film career Pacino found acting enjoyable and realized he had a gift for it while studying at The Actors Studio. However, his early work was not financially rewarding.[3] After his success on stage, Pacino made his movie debut in 1969 with a brief appearance in Me, Natalie, an independent film starring Patty Duke.[25] In 1970, Pacino signed with the talent agency Creative Management Associates (CMA).[14] 1970s It was the 1971 film The Panic in Needle Park, in which he played a heroin addict,[26] that brought Pacino to the attention of director Francis Ford Coppola, who cast him as Michael Corleone in the blockbuster Mafia film The Godfather (1972). Although several established actors—including Jack Nicholson, Robert Redford, Warren Beatty, and little-known Robert De Niro—also tried out for the part, Coppola selected the relatively unknown Pacino, to the dismay of studio executives.[3][27] Pacino was teased on the set because of his short stature. Pacino's performance earned him an Academy Award nomination, and offered a prime example of his early acting style, described by Halliwell's Film Guide as "intense" and "tightly clenched". Pacino boycotted the Academy Award ceremony, insulted at being nominated for the Supporting Acting award, noting that he had more screen time than co-star and Best Actor winner Marlon Brando—who also boycotted the awards, but for unrelated reasons.[28] In 1973, he co-starred in Scarecrow, with Gene Hackman, and won the Palme d'Or at the Cannes Film Festival. That same year, Pacino was nominated for an Academy Award for Best Actor after starring in Serpico, based on the true story of New York City policeman Frank Serpico, who went undercover to expose the corruption of fellow officers.[28] In 1974, Pacino reprised his role as Michael Corleone in the sequel The Godfather Part II, which was the first sequel to win the Best Picture Oscar; Pacino, meanwhile, was nominated for his third Oscar.[28] Newsweek has described his performance in The Godfather Part II as "arguably cinema's greatest portrayal of the hardening of a heart".[29] In 1975, he enjoyed further success with the release of Dog Day Afternoon, based on the true story of bank robber John Wojtowicz.[3] It was directed by Sidney Lumet, who had directed him in Serpico a few years earlier, and Pacino was again nominated for Best Actor.[30] In 1977, Pacino starred as a race-car driver in Bobby Deerfield, directed by Sydney Pollack, and received a Golden Globe nomination for Best Actor – Motion Picture Drama for his portrayal of the title role. His next film was the courtroom drama ...And Justice for All, which again saw Pacino lauded by critics for his wide range of acting abilities, and nominated for the Best Actor Oscar for a fourth time.[30] However he lost out that year to Dustin Hoffman in Kramer vs. Kramer—a role that Pacino had declined.[30] During the 1970s, Pacino had four Oscar nominations for Best Actor, for his performances in Serpico, The Godfather Part II, Dog Day Afternoon, and ...And Justice for All.[3] 1980s Pacino's career slumped in the early 1980s; his appearances in the controversial Cruising, a film that provoked protests from New York's gay community,[31] and the comedy-drama Author! Author!, were critically panned.[2] However, 1983's Scarface, directed by Brian De Palma, proved to be a career highlight and a defining role.[3] Upon its initial release, the film was critically panned due to violent content, but later received critical acclaim.[32] The film did well at the box office, grossing over US$45 million domestically.[33] Pacino earned a Golden Globe nomination for his role as Cuban drug lord Tony Montana.[34] In 1985, Pacino worked on his personal project, The Local Stigmatic, a 1969 Off Broadway play by the English writer Heathcote Williams. He starred in the play, remounting it with director David Wheeler and the Theater Company of Boston in a 50-minute film version. The film was not released theatrically, but was later released as part of the Pacino: An Actor's Vision box set in 2007.[3] His 1985 film Revolution about a fur trapper during the American Revolutionary War, was a commercial and critical failure, which Pacino blamed on a rushed production,[35] resulting in a four-year hiatus from films. At this time Pacino returned to the stage. He mounted workshop productions of Crystal Clear, National Anthems and other plays; he appeared in Julius Caesar in 1988 in producer Joseph Papp's New York Shakespeare Festival. Pacino remarked on his hiatus from film: "I remember back when everything was happening, '74, '75, doing The Resistible Rise of Arturo Ui on stage and reading that the reason I'd gone back to the stage was that my movie career was waning! That's been the kind of ethos, the way in which theater's perceived, unfortunately."[36][37] Pacino returned to film in 1989's Sea of Love,[3] when he portrayed a detective hunting a serial killer who finds victims through the singles column in a newspaper. The film earned solid reviews.[38] 1990s Al Pacino at the 1996 Cannes Film Festival. Pacino received an Academy Award nomination for playing Big Boy Caprice in the box office hit Dick Tracy in 1990, of which critic Roger Ebert described Pacino as "the scene-stealer".[39] Later in the year he followed this up in a return to one of his most famous characters, Michael Corleone, in The Godfather Part III (1990).[3] The film received mixed reviews, and had problems in pre-production due to script rewrites and the withdrawal of actors shortly before production. In 1991, Pacino starred in Frankie and Johnny with Michelle Pfeiffer, who co-starred with Pacino in Scarface. Pacino portrays a recently paroled cook who begins a relationship with a waitress (Pfeiffer) in the diner where they work. It was adapted by Terrence McNally from his own Off-Broadway play Frankie and Johnny in the Clair de Lune (1987), that featured Kenneth Welsh and Kathy Bates. The film received mixed reviews, although Pacino later said he enjoyed playing the part.[40] Janet Maslin in The New York Times wrote, "Mr. Pacino has not been this uncomplicatedly appealing since his "Dog Day Afternoon" days, and he makes Johnny's endless enterprise in wooing Frankie a delight. His scenes alone with Ms. Pfeiffer have a precision and honesty that keep the film's maudlin aspects at bay."[41] In 1992, Pacino won the Academy Award for Best Actor, for his portrayal of the blind U.S. Army Lieutenant Colonel Frank Slade in Martin Brest's Scent of a Woman.[3] That year, he was also nominated for Best Supporting Actor for Glengarry Glen Ross, making Pacino the first male actor ever to receive two acting nominations for two movies in the same year, and to win for the lead role.[3] Pacino starred alongside Sean Penn in the crime drama Carlito's Way in 1993, in which he portrayed a gangster released from prison with the help of his lawyer (Penn) and vows to go straight. Pacino starred in Michael Mann's Heat (1995), in which he and Robert De Niro appeared on-screen together for the first time (though both Pacino and De Niro starred in The Godfather Part II, they did not share any scenes).[3] In 1996, Pacino starred in his theatrical docudrama Looking for Richard, a performance of selected scenes of Shakespeare's Richard III and a broader examination of Shakespeare's continuing role and relevance in popular culture. The cast brought together for the performance included Alec Baldwin, Kevin Spacey, and Winona Ryder. Pacino played Satan in the supernatural thriller The Devil's Advocate (1997) which co-starred Keanu Reeves. The film was a success at the box office, taking US$150 million worldwide.[42] Roger Ebert wrote in the Chicago Sun-Times, "The satanic character is played by Pacino with relish bordering on glee."[43] In Donnie Brasco, Pacino played mafia gangster "Lefty", the true story of undercover FBI agent Donnie Brasco (Johnny Depp) and his work in bringing down the mafia from the inside. Pacino also starred as real life 60 Minutes producer Lowell Bergman in the multi-Oscar nominated The Insider opposite Russell Crowe, before starring in Oliver Stone's Any Given Sunday in 1999. 2000s Al Pacino at the Rome Film Festival in 2008. Pacino has not received another Academy Award nomination since winning for Scent of a Woman, but has won three Golden Globes since the year 2000, the first being the Cecil B. DeMille Award in 2001 for lifetime achievement in motion pictures.[44] In 2000, Pacino released a low-budget film adaptation of Ira Lewis' play Chinese Coffee to film festivals.[45] Shot almost exclusively as a one-on-one conversation between two main characters, the project took nearly three years to complete and was funded entirely by Pacino.[45] Chinese Coffee was included with Pacino's two other rare films he was involved in producing, The Local Stigmatic and Looking for Richard, on a special DVD box set titled Pacino: An Actor's Vision, which was released in 2007. Pacino produced prologues and epilogues for the discs containing the films.[46] Pacino turned down an offer to reprise his role as Michael Corleone in the computer game version of The Godfather. As a result, Electronic Arts was not permitted to use Pacino's likeness or voice in the game, although his character does appear in it. He did allow his likeness to appear in the video game adaptation of 1983's Scarface, quasi-sequel titled Scarface: The World is Yours.[47] Director Christopher Nolan worked with Pacino on Insomnia, a remake of the Norwegian film of the same name, co-starring Robin Williams. Newsweek stated that "he [Pacino] can play small as rivetingly as he can play big, that he can implode as well as explode".[48] The film and Pacino's performance were well received, gaining a favorable rating of 93 percent on the review aggregation website Rotten Tomatoes.[49] The film did moderately well at the box office, taking in $113 million worldwide.[50] His next film, S1m0ne, did not gain much critical praise or box office success.[51] He played a publicist in People I Know, a small film that received little attention despite Pacino's well-received performance.[52] Rarely taking a supporting role since his commercial breakthrough, he accepted a small part in the box office flop Gigli, in 2003, as a favor to director Martin Brest.[52] The Recruit, released in 2003, featured Pacino as a CIA recruiter and co-stars Colin Farrell. The film received mixed reviews,[53] and has been described by Pacino as something he "personally couldn't follow".[52] Pacino next starred as lawyer Roy Cohn in the 2003 HBO miniseries Angels in America, an adaptation of Tony Kushner's Pulitzer Prize winning play of the same name.[3] For this performance, Pacino won his third Golden Globe, for Best Performance by an Actor, in 2004.[54] Pacino starred as Shylock in Michael Radford's 2004 film adaptation of The Merchant of Venice, choosing to bring compassion and depth to a character traditionally played as a villainous caricature.[55] In Two for the Money, Pacino portrays a sports gambling agent and mentor for Matthew McConaughey, alongside Rene Russo. The film was released on October 8, 2005, to mixed reviews.[56] Desson Thomson wrote in The Washington Post, "Al Pacino has played the mentor so many times, he ought to get a kingmaker's award ... the fight between good and evil feels fixed in favor of Hollywood redemption."[57] On October 20, 2006, the American Film Institute named Pacino the recipient of the 35th AFI Life Achievement Award.[58] On November 22, 2006, the University Philosophical Society of Trinity College, Dublin awarded Pacino the Honorary Patronage of the Society.[59] Pacino played a spoof role in Steven Soderbergh's Ocean's Thirteen, alongside George Clooney, Brad Pitt, Matt Damon, Elliott Gould and Andy García, as the villain Willy Bank, a casino tycoon targeted by Danny Ocean and his crew. The film received generally favorable reviews.[60] 88 Minutes was released on April 18, 2008, in the United States, after having been released in various other countries in 2007. The film co-starred Alicia Witt and was critically panned,[61] although critics found fault with the plot, and not Pacino's acting.[62] In Righteous Kill, Pacino and Robert De Niro co-star as New York detectives searching for a serial killer. The film was released to theaters on September 12, 2008. While it was an anticipated return for the two stars, it was not well received by critics.[63] Lou Lumenick of the New York Post gave Righteous Kill one star out of four, saying: "Al Pacino and Robert De Niro collect bloated paychecks with intent to bore in Righteous Kill, a slow-moving, ridiculous police thriller that would have been shipped straight to the remainder bin at Blockbuster if it starred anyone else."[64] 2010s Pacino in 2014 Pacino played Dr. Jack Kevorkian in an HBO Films biopic entitled You Don't Know Jack, which premiered April 2010. The film is about the life and work of the physician-assisted suicide advocate. The performance earned Pacino his second Emmy Award[65] for lead actor[66] and his fourth Golden Globe award.[34] It was announced in May 2011 that Pacino was to be honored with the "Glory to the Film-maker" award at the 68th Venice International Film Festival.[67] The award was presented ahead of the premiere of his film Wilde Salome, the third film Pacino has directed.[67] Pacino, who plays the role of Herod in the film, describes it as his "most personal project ever".[67] The United States premiere of Wilde Salomé took place on the evening of March 21, 2012, before a full house at the 1,400-seat Castro Theatre in San Francisco's Castro District. Marking the 130th anniversary of Oscar Wilde's visit to San Francisco, the event was a benefit for the GLBT Historical Society.[68][69][70] Pacino most recently starred in a 2013 HBO biographical picture about record producer Phil Spector's murder trial, titled Phil Spector.[71] Pacino and Robert De Niro are reportedly set to star in the upcoming project The Irishman, to be directed by Martin Scorsese and co-star Joe Pesci.[72] It was announced in January 2013 that Pacino will play the late former Penn State University football coach Joe Paterno in the movie tentatively titled Happy Valley and based on a 2012 biography of Paterno by sportswriter Joe Posnanski.[73] Personal life Although he has never married, Pacino has three children. The eldest, Julie Marie (born 1989), is his daughter with acting coach Jan Tarrant. He also has twins, son Anton James and daughter Olivia Rose (born January 25, 2001), with actress Beverly D'Angelo, with whom he had a relationship from 1996 until 2003.[74][75] Pacino had a relationship with Diane Keaton, his co-star in the Godfather trilogy. The on-again, off-again relationship ended following the filming of The Godfather Part III.[76] He has had relationships with Tuesday Weld, Jill Clayburgh, Marthe Keller, Kathleen Quinlan and Lyndall Hobbs.[46] The Internal Revenue Service filed a tax lien against Pacino, claiming he owes the government a total of $188,000 for 2008 and 2009. A representative for Pacino blamed his former business manager Kenneth Starr for the discrepancy.[77] Filmography Main article: Al Pacino on stage and screen Me, Natalie (1969)The Panic in Needle Park (1971)The Godfather (1972)Serpico (1973)The Godfather Part II (1974)Dog Day Afternoon (1975)Bobby Deerfield (1977)...And Justice for All (1979)Cruising (1980)Author! Author! (1982)Scarface (1983)Revolution (1985)Sea of Love (1989)The Local Stigmatic (1990)Dick Tracy (1990)The Godfather Part III (1990)Frankie and Johnny (1991)Glengarry Glen Ross (1992)Scent of a Woman (1992)Carlito's Way (1993)Two Bits (1995)Heat (1995)City Hall (1996)Looking for Richard (1996)Donnie Brasco (1997)The Devil's Advocate (1997)The Insider (1999)Any Given Sunday (1999)Chinese Coffee (2000)Insomnia (2002)Simone (2002)People I Know (2002)The Recruit (2003)Gigli (2003)Angels in America (2003)The Merchant of Venice (2004)Two for the Money (2005)88 Minutes (2007)Ocean's Thirteen (2007)Righteous Kill (2008)You Don't Know Jack (2010)The Son of No One (2011)Wilde Salomé (2011)Jack and Jill (2011)Stand Up Guys (2012)Phil Spector (2013)Manglehorn (2014)The Humbling (2014)Danny Collins (2015) Awards and nominations For more details on this topic, see List of awards and nominations received by Al Pacino. Pacino has been nominated and has won many awards during his acting career, including eight Oscar nominations (winning one), 15 Golden Globe nominations (winning four), five BAFTA nominations (winning two), two Primetime Emmy Awards for his work on television, and two Tony Awards for his stage work. In 2007, the American Film Institute awarded Pacino with a lifetime achievement award and, in 2003, British television viewers voted Pacino as the greatest film star of all time in a poll for Channel 4.[1] 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 as Best Director for 12 Angry Men (1957), Dog Day Afternoon (1975), Network (1976) and 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 for his "strong direction of actors," "vigorous storytelling" and the "social realism" in his best work.[2] Film critic 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 was typical of his best work: a well-acted, tightly written, deeply considered "problem picture," 12 Angry Men (1957). From that point on Lumet divided his energies among other idealistic problem pictures along with literate adaptations of plays and novels, big stylish pictures, 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 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 (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 with the appearance of numerous speakers and film stars.[8] Contents 1 Early years2 Personal life3 Career in directing 3.1 Early career3.2 Directing style and subjects 3.2.1 Realism and energetic style3.2.2 Collaboration3.2.3 Rehearsal and preparation3.2.4 Character development3.2.5 Psychodramas3.2.6 Issues of social justice3.2.7 New York City settings3.2.8 Use of contemporary Jewish themes3.2.9 Directing techniques3.2.10 Vision of future films4 Death5 Legacy6 Filmography7 Academy Awards8 Other awards9 References10 External links Early years 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.[9][10] Lumet's parents, Baruch and Eugenia (née Wermus) Lumet, were both veterans of the Yiddish theatre.[11] His father, who was an actor, director, producer and writer, was a Polish Jewish emigrant to the United States who was born in Warsaw.[12] 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.[13] As a child he also appeared in many Broadway plays,[11] including 1935's Dead End and Kurt Weill's The Eternal Road. In 1935, aged 11, he appeared in a 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.[14] In 1939 he made his only feature-length film appearance, at age 15, in One Third of a Nation.[15][16] In 1939, World War II interrupted his early acting career, and he spent three years with the U.S. Army. After returning from World War II service (1942–1946) as a radar repairman stationed in India and Burma, 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.[15] 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] Personal life Lumet was married four times; the first three marriages ended in divorce. He was married to actress Rita Gam from 1949–55;[2] to socialite Gloria Vanderbilt from 1956–63; to Gail Jones (daughter of Lena Horne) from 1963–78, and to Mary Gimbel from 1980 until his death. He had two daughters by Jones: Amy, who was married to 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.[15][17] Career in directing Early career 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 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.[18] 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 in The Fugitive Kind (1959) 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. For US Supreme Court Justice Sonia Sotomayor, seeing the film for the first time, became a "pivotal moment" in her life, as she was at that time considering a career in law. "It told me that I was on the right path," she said.[19] Fully half of Lumet's complement of films have originated in the theater.[20] 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. But the brouhaha actually did Lumet more good than harm, sending several prestigious film assignments his way.[21] Directing Marlon Brando in The Fugitive Kind (1959) He began adapting classic plays for both film and television. In 1959, he directed Marlon Brando, Joanne Woodward and Anna Magnani in the feature film The Fugitive Kind, based on the 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 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.[22] It was also voted one of the year's "Ten Best Films" by The New York Times. Directing style and subjects Realism and energetic style 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:[23] 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.[23] Collaboration Describing scene with 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 flexibility in the sharing of creative ideas with the writer, actor, and other artists."[24] According to Cunningham, Lumet "has no equal in the distinguished direction of superior actors," many coming from the theater. He was thereby able to draw "remarkable 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.[25] 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."[24] Nonetheless, when he did use less "fully dimensional" actors in the cast of his film, he was still able to bring out superior and memorable acting performances, as he did with Nick Nolte, Anthony Perkins, Armand Assante, Jane Fonda, Faye Dunaway, Timothy Hutton and Ali MacGraw, who herself referred to him as "every actor's dream."[26] In Fonda's opinion, "he was a master. Such control of his craft. He had strong, progressive values and never betrayed them."[27] 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[28] Lumet believed that movies are an art and once stated that "The amount of attention paid to movies is directly related to pictures of quality."[29] 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."[30] 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."[31] 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."[31] His debut film, Twelve Angry Men, was an acclaimed picture in its day: it was a model for liberal reason and fellowship in the Eisenhower era; or maybe it was an alarming example of how easily any jury could be swayed."[32] The film and its director were nominated for Academy Awards. Lumet was nominated for the Director's Guild Award and the film was widely praised by critics.[15] The Encyclopedia of World Biography states that his films often featured actors who studied "Method acting", "characterized by 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, an "improvisational look achieved by shooting much of his work on location."[33] Rehearsal and preparation 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."[34] Director Peter Bogdanovich asked him whether he rehearsed extensively before shooting, and Lumet replied "I like to rehearse a minimum of two weeks before I shoot."[4] He was able to prepare and execute a production in rapid order, allowing him to consistently stay within a 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." And they note that "whereas many directors disliked rehearsals or advising actors on how to build their character, Lumet excelled at both."[29] As a result, he was able to 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 "knows 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] Joanna Rapf, writing about the filming of The Verdict, states that Lumet gave a lot of personal attention to his actors, "listening to them, 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, 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. "I call him "Speedy Gonzales," the only man I know who'll double-park in front of a whorehouse," kids Paul Newman privately. "He's arrogant about not shooting more than he has to. He doesn't give himself any protection. I know I would," Newman adds.[4] 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." 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."[35] Character development 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 in his films, such as Garbo Talks. "Anne Bancroft embodies the kind of character to whom Lumet is attracted – 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] Throughout a 2006 interview, he reiterated that "he is fascinated by the human cost involved in following passions and commitments, and the cost those passions and commitments inflict on others." This theme is at the "core" of most of his movies, notes Rapf, "including his stories of corruption in the New York City Police Department and family dramas such as in Daniel. Psychodramas According to film historian Stephen Bowles, Lumet proved himself "most comfortable and effective as a director of serious psychodramas and was most vulnerable when attempting 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 was, literally, a child of the drama." He notes that "nearly all the characters in Lumet's gallery are driven by obsessions or passions that range from the pursuit of justice, honesty, and truth to the clutches of jealousy, memory, or guilt. It is not so much the object of their fixations but the obsessive condition itself that intrigues Lumet."[20] Therefore, Bowles adds, "Lumet's protagonists tend to be isolated, unexceptional men who oppose a group or institution. Whether the protagonist is a member of a jury or party to a bungled robbery, he follows his instincts and intuition in an effort to find solutions. Lumet's most important criterion is not whether the actions of these men are right or wrong but whether the actions are genuine. If these 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. Frank Serpico, for example, is the quintessential Lumet hero in his defiance of peer group authority and the assertion of his own code of moral values."[20] Lumet in his autobiography described the film Serpico as "a portrait of a real rebel with a cause."[36] Issues of social justice Turner Classic Movies states that "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."[2] Serpico (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." It was the story of power and betrayal in the New York City police force, and was coupled with the "idea that innocence is lost in the face of corruption." The movie became a blueprint that Lumet would use to portray the inner world of cops, lawyers and street criminals, with only an "idealistic lone wolf battling seemingly impossible odds."[2] "As a child of the Depression," writes Joanna Rapf, "growing up poor in New York City with poverty and corruption all around him, Lumet became concerned with the importance of justice to a democracy. He says he likes questioning things, people, institutions, what is considered by society as 'right' and 'wrong.'"[4] 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 "He has steady themes: the fragility of justice, and the police and their corruption." He adds, "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. ... Network ... was the closest he had come to a successful comedy. 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."[32] Lumet, discussing one of his primary film subjects, police corruption, described his feelings for film magazine, Cinema Nation: “ I have just finished a movie called Prince of the City. It's a long, complex film and one of the most difficult and satisfying movies I've ever made. It's about a cop informing on other cops ... [It's] not only about informing, however. It is also about cops and the complexity of their lives. I've known a lot of cops, most of whom join the force with a good deal of idealism. They wind up with the highest suicide and alcoholism rates of any profession.[36] ” New York City settings Lumet always preferred to work in New York, noted Lumet biographer Joanna Rapf, "shunning the dominance of Hollywood. By refusing to "go Hollywood," he soon became strongly identified with New York and filmed the majority of his films there. Like Woody Allen, he defined himself as a New Yorker. "I always like being in Woody Allen's world," he said. He claimed "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] In discussing the significance of urban settings to Lumet, Bowles notes, "Within this context, Lumet is consistently attracted to situations in which crime provides the occasion for a group of characters to come together. Typically these characters are caught in a vortex of events they can neither understand nor control but which they must work to resolve."[20] In a 2007 interview with New York magazine, he was asked, "Almost all of your films – from The Pawnbroker to your latest – have an intense level of that famous New York grit. Is being streetwise really such a difference between us and Hollywood?" Lumet replied: "In L.A., there's no streets! No sense of a neighborhood! They talk about us not knowing who lives in the same apartment complex as us – bullshit! I know who lives in my building. In L.A., how much can you really find out about anybody else? ... Really, it's just about human contact. It seems to me that our greatest problems today are coming out of the increasing isolation of people, everywhere."[37] Use of contemporary Jewish themes Like those of 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,[38]:3 by dynamically highlighting its "unique tensions and cultural diversity." This was partly reflected in Lumet's preoccupation with city life.[38]: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," writes Desser, "links the diverse parts of Lumet's varied and complex canon." Whereas in films like Murder on the Orient Express (1974), all of the suspects are guilty.[38]:172 His films were also characterized by a strong emphasis on tensions within the "family," with his apparent "insistence on the centrality of family life."[38]:172 This emphasis on the family also included "surrogate families," as in the police trilogy, Serpico (1973), Prince of the City (1981), and Q&A. An "untraditional family" is also inherent in Dog Day Afternoon (1975).[38]:172 Directing techniques Lumet had always preferred naturalism and/or realism, according to Joanna Rapf. He did not like the "decorator's look"; rarely did he want "the camera to call attention to itself; the editing must be 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 can deliver powerhouse performances from lead actors, and fine work from character actors," writes film historian Thomson. He is "one of the stalwart figures of New York moviemaking. He abides by good scripts, when he gets them."[32] According to Katz's Film Encyclopedia, "Although critical evaluation of Lumet's work wavered widely from film to film, on the whole the director's body of work has been held in high esteem. Critical opinion has generally viewed him as a sensitive and intelligent director who possesses considerable good taste, the courage to experiment with a variety of techniques and styles, and an uncommon gift for handling actors."[15] Lumet, unlike some other directors, tried to keep a professional distance from his actor's personal lives: "Elia Kazan used to really try to get inside the head and psyche of everybody he worked with," Lumet told The New York Times in 2007, referring to the influential director. "I'm the exact opposite school. I don't like to get involved."[39] 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.[40] ” In 1970, Lumet said, "If you're a director, then you've got to direct ... I don't believe that you should sit back and wait until circumstances are perfect before you and it's all gorgeous and marvelous ... I never did a picture because I was hungry ... Every picture I did was an active, believable, passionate wish. Every picture I did I wanted to do ... I'm having a good time." Lumet, in a statement posted on IMDB, said, "If I don't have a script I adore, I do one I like. If I don't have one I like, I do one that has an actor I like or that presents some technical challenge." 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."[41] Vision of future films In the same interview with New York magazine, when asked what he foresaw as the next wave of filmmaking, he responded, "Well, we were shooting out in Astoria, and one day I was watching all these kids standing outside a school near the studio. It was just marvelous: Indian girls in saris, kids from Pakistan, Korea, kids from all over. So I think you'll see more directors from these communities, telling their stories. You know, I started out making films about Jews and Italians and Irish because I didn't know anything else."[37] Death Lumet died at the age of 86 on April 9, 2011, in his residence in Manhattan, from lymphoma.[9][28] 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."[42] 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 and 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 and, above all, the remarkable Prince of the City."[43] Lumet also drew praise from New York mayor Michael Bloomberg, who called him "one of the great chroniclers of our city".[43] 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."[44] Legacy 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."[20] 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"[20] Jake Coyle, 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 to Faye Dunaway, Henry Fonda to Paul Newman, Lumet is known as an actor's director,"[45] and to some, like Ali MacGraw, he is considered "every actor's dream."[26] Academy of Motion Pictures President Frank Pierson said, "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."[46] 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 remains a master of the morally complex American drama."[47] 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."[48] 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."[48] 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 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."[44] Nonetheless, director Spike Lee commented that "his great work lives on with us forever. Much more important than Oscar. Ya-dig?"[49] A few months after Lumet's death in April 2011, TV commentator Lawrence O'Donnell aired a tribute to Lumet,[50] and a retrospective celebration of his work was held at New York's Lincoln Center with the appearance of numerous speakers and film stars.[8] In October 2011, the organization 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 on a media project related to the depiction of torture and interrogation on television.[51] Sight & Sound magazine conducts a poll every ten years to publish a list called the Ten Greatest Films of All Time. In 2012 David Michod, PJ Hogan and Cyrus Frisch voted for "Network". Frisch commented: "Even Berlusconi might have learned a few things about the power of the media watching this film."[52] Network was listed as the 224th best film.[53] Filmography Year Film Cast 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 1959 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 1967 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 (narration), Joanne Woodward (narration) 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 (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 Academy Awards 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 1965 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 Berlin International Film Festival 1966 The Group nominated for Competing Film[54]1964 Pawnbroker nominated for Competing Film[55]1959 That Kind of Woman nominated for Competing Film[56]1957 12 Angry Men Won the Golden Bear for Best Film[57] British Academy Film Awards 1977 Network nominated for Best Film1975 Dog Day Afternoon nominated for Best Film1974 Murder on the Orient Express nominated for Best Film1967 Deadly Affair nominated for Best British Film1965 The Hill nominated for Best British Film1965 The Hill nominated for Best Film – Any Source1957 12 Angry Men nominated for Best Film – Both Any Source and British Cannes Film Festival 1992 A Stranger Among Us nominated for in Competition[58]1962 Long Day's Journey into Night    nominated for Competing Film[22]      ebay3189

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