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’12 యాంగ్రీ మెన్’ సృష్టి కర్త ’సిడ్నీ లూమెట్’ ఇక లేరు

1957 లో తన మొదటి సినిమా 12 Angry Men తోనే ఉత్తమ దర్శకుడిగా ఆస్కార్ నామినేషన్ పొంది ఆ తర్వాత యాభై సంవత్సరాల పాటు దాదాపు యాభై చలనచిత్రాలకు దర్శకత్వం వహించి నాలుగు సార్లు ఆస్కార్ నామినేషన్ పొంది చలనచిత్ర చరిత్రలో అత్యుత్తమ దర్శకుల్లో ఒకడిగా నిలిచిపోయిన సిడ్నీ లూమెట్ ఇవాళ న్యూయార్క్ లోని మాన్‍హట్టన లో మరణించారు.12 యాంగ్రీ మెన్, నెట్ వర్క్, డాగ్ డే ఆఫ్టర్ నూన్, పాన్ బ్రోకర్ లాంటి ఎన్నో అత్యుత్తమ చలనచిత్రాలను ప్రపంచానికందంచిన లూమెట్ మరణం చలనచిత్ర ప్రపంచానికి తీరని లోటు. ఆయనకి నవతరంగం శ్రద్ధాంజలి ఘటిస్తూ ఆయన గుర్తుగా ఈ వీడియో


 

Director Sidney Lumet, who started his career as a child actor in the Yiddish theater and whose films examining social justice in America stand as hallmarks of his craft, has died.

Lumet died Saturday of lymphoma at his New York home. He was 86.

Both of the director’s his parents were veterans of the Yiddish stage: father Baruch Lumet was an actor and director, and mother Eugenia Wermus was a dancer. In later years, Sidney Lumet attributed his films’ emphasis on conscience and struggle for justice to his Jewish upbringing.

Moving with his parents from one New York borough to another, often in anti-Semitic neighborhoods, the small-statured Sidney learned at an early age to fend for himself.

One of his early acting gigs was in Ben Hecht’s 1946 pageant, “A Flag Is Born,” which rallied American public opinion in support of a Jewish state in Palestine.

After serving as a U.S. army radar repairman in Burma and India during World War II, Lumet got his start in television and hit it big with his first feature film, “12 Angry Men.”
The 1957 movie, starring Henry Fonda as a hold-out juror, earned Lumet the first of five Oscar nominations.

During a 50-year career, Lumet directed 43 feature films and hundreds of television episodes. Among them were such memorable movies as “Long Day’s Journey into Night,” “Dog Day Afternoon,” “Serpico,” “The Verdict,” and “Running on Empty.”

In 1976, his movie “Network,” about a disaffected TV news anchor, immortalized the phrase “I’m mad as hell and I’m not going to take this anymore.”

Lumet repeatedly returned to Jewish themes and characters, first in “The Pawnbroker,” about a haunted Holocaust survivor; followed by “Bye Bye Braverman,” about Jewish intellectuals in New York; “Daniel” about the Julius and Ethel Rosenberg spy case; and “A Stranger Among Us,” unfolding in a Hassidic community.

Most of his films were set and filmed in New York City. He did not hate Hollywood, but disliked the studio system and avoided what he described as “a company town…there is no real world there outside of filming.”

Lumet was admired for bringing in his films on schedule and under budget by carefully rehearsing his actors for weeks in advance and then wrapping up the actual shooting in one or two takes.

Lumet was eulogized as “the last great movie moralist” and by fellow New Yorker Woody Allen, who observed, “Knowing Sidney, he will have more energy dead than most live people.”

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