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Five of Sidney Lumet’s Lesser-Known Films Worth Seeking Out

Five of Sidney Lumet’s Lesser-Known Films Worth Seeking Out (photo)

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Only days ago “The Deadly Affair” arrived at my doorstep, yet another of Sidney Lumet’s films I had never seen before since having been born two-thirds of the way into the director’s legendary career, it’s always been a game of catch-up. Then again, it was that way for most in his field, even if they were contemporaries.

After passing away far too soon at the age of 86, Lumet leaves behind a half-century-long career that will no doubt be scrutinized for being inconsistent, a richly ironic assessment given that in person and on film, he was known as a straight shooter, and perhaps one of the only filmmakers who could say their final film (“Before the Devil Knows You’re Dead”) was as vital and strong as their first (“12 Angry Men”). However, that certainly isn’t the only reason why Lumet was a rarity.

In a world full of auteurs, Lumet was a collaborator, bringing out the best in some of the finest screenwriters and actors of the day, whether it was protecting Paddy Chayefsky’s visionary media satire “Network” or guiding the likes of Al Pacino to two of his finest performances in “Dog Day Afternoon” and “Serpico.” And yet he was also fiercely independent, unusually minimalist in his approach to storytelling and willing to fail, which made his successes all the more triumphant and many of his less commercially successful films intriguing if not as downright compelling for a specific audience as many of his hits are.

Of course, in recent days, there have been plenty of great remembrances of the director, from Salon‘s Matt Zoller Seitz and The New York Times‘ A.O. Scott, not to mention Mubi‘s excellent roundup of them all, as well as Film School Rejects‘ list of the seven Lumet films you can watch right now and Matt Singer’s YouTube primer. But the director’s body of work is so vast that even after one gorges through the accepted classics, there are far more treasures to be found, especially since quite a few of them haven’t been released on DVD or sometimes home video in general until the last year. Here are a few that are well worth checking out:

“Prince of the City” Amongst Lumet’s biggest fans, the director’s nearly three-hour adaptation of Robert Daley’s book about real-life NYPD detective Robert Leuci (Treat Williams) who uncovers corruption in the department and methodically weeds them out is perhaps his greatest achievement. After long being unavailable on DVD, Warner Brothers released the film in a two-disc set in 2007 that not only leaves the tense, labyrinthine thriller uncompromised, but includes a half-hour documentary about the making of the film that details the film’s difficult shoot and serves as a testament to Lumet’s adherence to accuracy with the participation of the real Leuci.

04142011_FindMeGuilty.jpg“Find Me Guilty” Despite an unfortunate wig, Vin Diesel gave the performance of his career as mafioso Jack DiNorscio in Lumet’s 2006 courtroom comedy and unfortunately, with a nascent distributor in the now-defunct Yari Film Group, the film was similarly hidden in plain sight with audiences. But after directing very few comedies with a limited amount of success (the often budget-bin-bound 1997 hospital comedy “Critical Care” adroitly uses an excellent ensemble including Helen Mirren and an unrecognizable Albert Brooks), “Find Me Guilty” finds Lumet in his most comfortable setting — the courtroom – and at his most relaxed, which gives Diesel the chance to turn on the charm as the real-life mobster who, already having been sentenced to a 30-year prison stretch, represents himself to avoid having to testify against his pals in what became the longest mob-related trial in history.


“Bye Bye Braverman”
It was actually a lament from MSN Movies‘ Glenn Kenny upon the Warner Archive release of this bittersweet 1968 dramedy about a gathering of four liberal Jewish pals at the funeral of their friend that both he and the film’s director (whom he quoted from his essential memoir “Making Movies”) felt “should’ve been a soufflé, but it turned out a pancake” that led me to check the film out. As it happens, Warner Archive is one of the best sources for Lumet’s wilder works, having also made available to the public the 1968 adaptation of Chekhov’s “The Sea Gull” with James Mason and Vanessa Redgrave, the 1970 Tennessee Williams adaptation “Last of the Mobile Hot Shots” with James Coburn, and the 1980 Ali McGraw comedy “Just Tell Me What You Want.” And like those films, “Bye Bye Braverman” was never likely to catch fire with mass audiences, but one will admire Lumet’s craftsmanship, particularly in regard to what he brings out of his actors, and the film’s nerve, reveling in its Brooklyn setting and Judaica in a way that will make it foreign to some, but instantly beloved by others if it hits them in the right way, as it did Andrew Grant of Like Anna Karina’s Sweater.

“The Offence” Thanks to MGM’s Limited Edition Collection, a manufacture-to-order DVD service in the vein of Warner Archive, three of Lumet’s lesser-known films are available to own including “The Group,” the 1966 drama that tracks Shirley Knight and Candice Bergen amongst others in a group of graduates from Vassar as they pass through the rites of adulthood during the 1930s (which can also be watched on Netflix), and “Garbo Talks,” the lighthearted 1984 drama featuring Anne Bancroft as an indefatigable Greta Garbo fan who decides she’ll meet her screen idol when she learns she has an inoperable brain tumor. But perhaps the strongest of the trio is Lumet’s second collaboration with Sean Connery, following 1965’s war drama “The Hill,” which touched on the director’s longtime fascination with abuse of power with Connery as a veteran detective pushed beyond the brink of self-control by a suspected child rapist. It’s available both on DVD and Amazon on Demand, a blessing since it never saw the light of day in more than a few countries after it proved to be a disappointment at the box office, though it was a passion project of Connery’s that is evident from the end result.

04142011_FugitiveKind.jpg“The Fugitive Kind” Ordinarily, inclusion in the Criterion Collection might preclude being on a list such as this, but we’ll make an exception since Lumet and star Marlon Brando’s considerable résumés often overshadow this 1959 Tennessee Williams adaptation about a drifter (Brando) who attracts the interest of three women (Joanne Woodward, Anna Magnani, and Maureen Stapleton) while trying to escape his criminal past in a small Mississippi town. At the time of its release, critics believed the East Coast-bred Lumet was out of his element in the Deep South, but later reception has been far kinder as the evocative black-and-white portrait of a decaying culture and Brando’s lonesome lothario. If nothing else, the film allowed Criterion to include a collection of Lumet-directed one-act plays of Williams on their two-disc set and eventually, The New Yorker‘s John Lahr to tell a wonderful anecdote about its occasionally difficult production.

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Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

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The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

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They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

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Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

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Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.