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Maura Spiegel - Sidney Lumet

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The author and publisher have provided this ebook to you for your personal use only. You may not make this ebook publicly available in any way. Copyright infringement is against the law. If you believe the copy of this ebook you are reading infringes on the authors copyright, please notify the publisher at:

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In memory

Justice Samuel A. Spiegel
Honorable Charlotte N. Spiegel
and
Ida White Gibbs

I wish to thank my agent, Don Fehr, for suggesting this project; Paul Lazar for his incredible support, and for opening countless doors; Daniel Myerson for the most extraordinary act of friendship and midwifery; Didi Heller, cherished friend for life; Michael Tencer for his excellent counsel and meticulous work on the manuscript; Mindy Fullilove, Ann Burack-Weiss, Lisa Heiserman, Gina Heiserman and Adrienne Munich, for wisdom, encouragement and crucial pointers. At St. Martins, thank you to Hannah Phillips and Michael Flamini, my wise editor.

I am enduringly grateful to Sidneys family for allowing me access to his unfinished memoir. Special thanks for kindness and marvelousness to Mary (Piedy) Lumet, Jenny Lumet, Gail Lumet Buckley, the late Rita Gam, and to the late Gloria Vanderbilt for sharing memories and allowing me to reproduce Sidneys drawings. I am especially indebted to Lili Jacobs, who was a generous, invaluable, and delightful guide.

I want most urgently to thank Simon Fortin, Jim Gilbert, Helena Hansen, Kelli Harding, Craig Irvine, John Kavanaugh and Jack Saul, my very dear friends who read drafts endlessly and provided support in dark moments. Thanks also to caring colleagues and administrators Casey Blake, Rita Charon, Angela Darling, Andrew Delbanco, Margaret Edsall, Lisa Gordis, Peter Platt, Cindy Smalletz, and Danielle Spencer. For priceless help with research, Joan Cohen, Ido Levy, Megan Litt, Eric Monder, Oriana Gonzales, Felicity Palmer, Derick Schilling and Benjamin Jordan Serby. Thank you to Karen Starr, Richard Fulmer, Elyse Goldstein, you know why. For generous help in countless ways, Kenji Fujita, Bob Milstein, Ilsa Klinghoffer and Lisa Klinghoffer.

I extend my sincere gratitude to all those belonging to Sidney Lumets orbit who spoke with me and pointed me in the right direction: Ellen Adler, David Amram, Andrzej Bartkowiak, Walter Bernstein, the late Theodore Bikel, David Black, Boaty Boatwright, Stephen Bowie, Bobby Cannavale, the late Jonathan Demme, Brian De Palma, the late E. L. Doctorow, the late Bill Esper, Tom Fontana, Burtt Harris, Lisa James, Jane Klain, Genevive LeRoy, Brian Linse, Gloria Loomis, Jenny Lumet, Kelly Masterson, Claudia Mohr, Chris Newman, Austin Pendleton, Martha Pinson, Amy Ryan, Theo Sable, Julie Salamon, Susan Scheftel, Stan Stokowski, Susanna Styron, John Tucker, Tony Walton and Treat Williams.

I wish to acknowledge the Margaret Herrick Library at the Academy of Motion Picture Arts and Sciences, the Warner Bros. Archive at USC, the Paley Center for Media, the New York Library for the Performing Arts, the Dorot Jewish Division of the New York Public Library, the Museum of the Moving Image, the Billy Rose Theatre Division of the New York Public Library, the YIVO Institute for Jewish Research, the UCLA Library Special Collections and the Kenneth Koch Literary Estate and Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a Division of Random House LLC for permission to reprint an excerpt of To Jewishness from The Collected Poems of Kenneth Koch, copyright 2005. All rights reserved.

With very special thanks to Jill Spiegel and Phillip Robinson. To my inspiring family, to Katie, Sam, Taniya and my incomparable husband, Arthur, I love you so much. Thank you.

Sidney Lumet would not have been crazy about the idea of a biography. He erased his calendar after events, David Black, a writer and producer who worked with Sidney, observed. This is gonna cause a problem for biographers. In fact, Sidney Lumetpronounced loo-met, with a hard T instead of in the French style, loo-mayleft no diaries, no papers, no correspondence, no archive. His inclination was to keep moving forward and not to look back. Much of the work of this book, of necessity, involved entering the rich worlds Sidney inhabited by collecting memories from those he worked with and those who loved him. He attempted, in his sixties, to write a memoir, but could get no further in the narrative than his early twenties. When he opened the valve, painful memories flooded him; the effort was unsustainable.

Likely he preferred to let the movies speak for him. It wasnt just modestyhe wasnt exactly a modest man. What he valued most was what people did by choice, what they forged and made happen, rather than what befell them or where they fell short. His remarkable book, Making Movies, stands as a testament to this spirit.

He rejected the title auteur, insisting always on the collective nature and the luck factor of producing great work. He preferred the term movie to film, retreating from anything he took to be fancy and unworkmanlike. He believed utterly in the value of working, in putting one foot in front of the other. He took on projects for many different reasons: because he adored a script or an actor, to learn a new aspect of his craft, to pay for a houseor just to be working. And he was hardly unmindful of the unevenness of his output.

He was not immune to praise or criticism, but he did his best to shrug them off equally. That thick skin would prove necessary for so much of his later working life, as Sidney was not canonized, was not lauded, wasnt even fashionable, despite his early successes. Critics complained that he was not edgy enough, and he was tarred with the liberal conscience tag, at a time, in the 1980s and 1990s, when the L word was reviled by both the left and the right. Some said he could never again hit the mark as hed done in the 1970s with Serpico, Network and Dog Day Afternoon, that not only his politics but his cinematic language was out of date. Yet just as quickly as the critics abandoned him, they returned to praise him toward the end of his life, lavishly hailing his final film, Before the Devil Knows Youre Dead, as a return to form by a living treasure.

The fact is, though, Sidney never stopped experimenting. He was constantly working with new actors, new equipment, new genres, and new techniques. Throughout his career he drew upon his earlier experiences in radio, theater, television and film to expand beyond his comfort zones and break new ground as both an artist and a citizen. The proof of how fickle critical opinion can be, and how poorly it provides the measure of any films enduring success, can be found in the ease with which Sidney was branded with that seemingly flattering phrase return to form: Sidneys films had actually begun to receive that backhanded compliment no later than the early 1970s. Serpico, The Verdict, Running on Empty, Q & A, Night Falls on Manhattan and Find Me Guilty were at the times of their release all described as returning to form; indeed, with critics declaring so many returns, one has to wonder in retrospect whether half of Sidneys career might not ultimately be viewed as a return to the other half.

Over the course of fifty-five years, with a directing career spanning forty-three movies and more than seventy-five television episodes, movies, and plays for the small screen, as well as another dozen years before that devoted to acting in theater, radio, and film, Sidney strove to work constantly, to glean as many lessons as possible from past successes and failures in the cause of putting that knowledge into action. Even by his own estimation, some of those experiments failed, but for Sidney every one of them was worth trying, and each contained moments of truth.

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