Lumet. It is an incredible filmography (17 archiveable films, 5 in their respective decade’s top 100, spanning 50 years) and there’s enough consistency in his work to consider him an auteur for sure. Still, he’s a “style-minus” director on a list like this and doesn’t have the top 200 all-time film so it’s easy to see why he’d fall. I’m also sure he’ll eventually be passed but a handful of current auteurs that are still in their prime and adding major pieces to their resume. However, even if he is “style-minus” I have him ranked #53 in my filmography points system. It’s time for Lumet on this list!
Best film: Network. Just by an eyelash does this film grade out ahead of Dog Day Afternoon and The Hill. It’s remarkable how well this film has aged. It’s known for Peter Finch’s (in an Oscar-winning role) “I’m mad as hell” speech and but I think William Holden’s is the superior performance (typical Cruise vs Hoffman in Rain Man flashier role- syndrome). Dunaway isn’t far behind either and both Robert Duvall and Ned Beatty chew some incredible scenes in their few minutes.
total archiveable films: 17
top 100 films: 0
top 500 films: 3 (Network, Dog Day Afternoon, The Hill)
top 100 films of the decade: 5 (Network, Dog Day Afternoon, The Hill, The Pawnbroker, Serpico)
most overrated: 12 Angry Men. The TSPDT consensus has it at #464 and Lumet’s 3rd best—I have it outside of my top 500 and as Lumet’s 7th—a pretty sizable divide.
most underrated: The Hill . Almost all these films from Lumet are underrated but I’ll pick The Hill. I have this film graded out as a masterpiece (#246 all-time) and it’s not in the top 1000 of all-time on TSPDT. I’ve seen it twice. Like much of Lumet’s work it will blow your hair back—but few, if any, do it like this. It’s probably Lumet’s most beautiful film (which isn’t a crazy-big compliment which is why with that filmography he’s fallen to #71) and I think it is Connery’s best performance. It’s demanding– and quite devastating.
gem I want to spotlight: I’m a big admirer of Lumet so there are many potential gems to put the spotlight on here but I’ll pick Serpico and Prince of the city. They actually work together as a double-feature watch as New York true crime chronicles. They are engrossing, well-acted (Pacino in Serpico in particular is remarkable) and directed on location with great atmosphere by Lumet- who should be as known for New York filmmaking as Woody/Scorsese/Spike—check out the opening of Dog Day Afternoon for another sign of this.
stylistic innovations/traits: Lumet didn’t write much of his work but there’s an acidity and pessimism that pervades his work- most of which are morality plays. Clearly his filmography is better than he is as a filmmaker but there are a ton of characteristics in tone and mood that make him more than just a simple directorial caretaker. Career-best work from many of the art form’s actors (including Pacino, Dunaway, Newman, Holden and Connery).
top 10
- Network
- Dog Day Afternoon
- The Hill
- The Pawnbroker
- Serpico
- The Verdict
- 12 Angry Men
- Prince of the City
- Murder On the Orient Express
- Before the Devil Knows You’re Dead
By year and grades
| 1957- 12 Angry Men | HR |
| 1960- The Fugitive Kind | R |
| 1962- Long Day’s Journey Into Night | R |
| 1964- Fail-Safe | R |
| 1964- The Pawnbroker | HR |
| 1965- The Hill | MP |
| 1973- Serpico | |
| 1974- Murder On the Orient Express | R |
| 1975- Dog Day Afternoon | MP |
| 1976- Network | MP |
| 1977- Equus | R |
| 1981- Prince of the City | HR |
| 1982- Deathtrap | R |
| 1982- The Verdict | HR |
| 1986- The Morning After | R |
| 1988- Running On Empty | R |
| 2007- Before The Devil Knows You’re Dead | R |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
Fantastic staying power. The Hill and The Pawnbroker in the 1960s
Dog Day Afternoon and Network in the 1970s
Prince and The Verdict in the 1980s.
One of the great debut films in 12 Angry Men.
And a fine final piece in Before the devil knows you are dead.
@AP- Yes, very counter to like Godard or someone who does all their best work in a short burst. Even if that 1973-1976 stretch for Lumet is special
@Drake – like James Trapp in his comment, I’m also wondering if there is a particular reason you rated Before the Devil Knows You Are Dead relatively low. I’ve just seen it, and it absolutely blew me away. Along with The Hill and Network, and perhaps the Verdict, it is now my favorite Lumet film. Philip Seymour Hoffman’s acting in particular, it is truly unbelievable. I watched Dog Day Afternoon right before Before the Devil and thought Al Pacino’s acting was amazing (and it is), but PSH devastated me. I’ve read that Lumet commented after the film was done that the scene in which PSH breaks down in the car with Marisa Tomei is the best acting performance he was ever involved with. Cinematically, Before the Devil may not be Lumet’s strongest work, and there could be strong arguments against the nonlinear story structure and even the editing. But the script, the directing, and the acting especially… the film is top notch, in my opinion.
There is a shot in which PSH spreads himself out on an armchair at the drug dealer’s apartment, high, calm, completely lost, and he talks about him not being the “sum of parts” while his dealer ignores him in the background in front of a giant window showing the city from above. It’s a great shot, adding so much to the scene and the moment, to PSH’s already fantastic acting.
@Marcella- Thank you for the share here- some details here that are worth looking out for on my next revisit
@Anderson – The cinematographer of Murder on the Orient Express was the same Geoffrey Unsworth who shot Cabaret and 2001: Space Odyssey. Admittedly, Murder isn’t in the same category as either of those two films in any way, and Murder is a far more technically conservative piece than either Fosse’s or Kubrick’s work, but I rather think Unworth must have created at least a few beautiful shots in Murder, if by accident! I haven’t seen the film for a while as it didn’t make our top 7 Lumet cut, but in my memory at least, it was a gorgeous film. Of course, it’s possible my mind is playing tricks on me and I confuse the costumes with the cinematography :).
@Marcella-The original Murder on the Orient Express was a very disappointing viewing experience for me. I thought it was barely good enough to be called a good film. It felt like a TV film half the time. And the cast on paper is amazing, but the performances weren’t that impressive. The music is poor. And that ending with everyone smiling and acknowledging is such a contrast with the reflective tone at the end in the remake.
I would like to point out that Lumet may have been a “style minus”director, but some of his films boast incredible cinematography. My favorite is The Hill (I will never forget that low dolly shot over the boots of hundreds of soldiers standing to attention, ending on a guy polishing a pair), and the Murder on the Orient Express is gorgeous, too.
And speaking of The Hill, I do wish that film got more attention. My daughters, age ten and seventeen, both rated it a perfect ten, so I know the new generation would appreciate the film, given the opportunity. The script, the acting, the direction, the cinematography, even the pacing, it’s literally a flawless film with stunningly nuanced psychological insights and all-important themes, including the abuse of power and racism. I do not understand why that film is so nearly forgotten.
Thank you for all your thoughtful posts.
@Marcella-I’m not sure Murder and the Orient Express(the Lumet version) and beautiful/gorgeous belong in the same sentence.
I’m struggling to remember a beautiful frame from that movie.
@Marcella- Thank you for sharing this- very happy to hear from another admirer of The Hill
My ranking of Lumet`s films that I`ve seen:
1. Network MP
2. 12 Angry Men MP
3. The Hill MP
4. Dog Day Afternoon MS/MP
5. The Verdict HR
6. The Pawnbroker HR
7. Prince of the City HR
8. Serpico R/HR
9. Before the Devil Knows You`re Dead R/HR
10. Murder on the Orient Express R
11. Equus R
20 Best Performances
1. Pacino- Dog Day Afternoon 5
2. Finch- Network 5
3. Holden- Network 5
4. Dunaway- Network 5
5. Newman- The Verdict 5
6. Connery- The Hill 5
7. Steiger- The Pawnbroker 5
8. Pacino- Serpico 5
9. Cobb- 12 Angry Men 5
10. Fonda- 12 Angry Men 5
11. Burton- Equus 5
12. Cazale- Dog Day Afternoon 5
13. PSH- Before the Devil Knows You`re Dead 4.5
14. Mason- The Verdict 4
15. Finney- Before the Devil Knows You`re Dead 4
16. Duvall- Network 4
17. Beatty- Network 4
18. Andrews- The Hill 4
19. Rampling- The Verdict 4
20. Hawke- Before the Devil Knows You`re Dead 4
@RujK- Well done across the board- I do love seeing the Hill graded so high
“Style-minus” is such an unintentionally harsh (but funny) description. Might I suggest “style-neutral” instead? Haha. Lumet’s a great director
@Matthew- Haha fair- I like that
Cont… sorry I meant as one post
The film is structured around this robbery but what initially looks to be a crime film is revealed to ultimately be a study of this fractured family. While PSH is the standout Ethan Hawke as the weak but well meaning brother is great as is Marisa Tomei as the self-loathing throphy wife of PSH’s character.
The plan of course falls apart miserably and the last 20 min or so move at a rapid pace. As I said above I do think the non-linear storyline works as the film is more about understanding the dynamics of this fractured family than it is about the actual robbery itself. Yes, there is an attempted heist but I would not call this a “Heist Film” if that makes sense.
@James Trapp- Thank you for sharing this. There is a lot to admire here but what are we talking about? You wouldn’t argue it deserves a spot in the top ten of 2007– or would you? I think it succeeds at its aims (which are fairly modest cinematically)- and is a wonderful film. HR feels like the ceiling.
@Drake – I would not argue top 10 of 2007 but 2007 is a ridiculously loaded year although a lot of prominent critics had it in their top 10 lists (link below)
I will admit there are not a lot of stunning visuals, I am certainly not arguing for MP level but I think HR is fair. I know I am probably in the minority but I actually think more of it than say The Verdict (1982) which is a film I never really connected with despite being a big Paul Newman fan.
https://en.wikipedia.org/wiki/Before_the_Devil_Knows_You%27re_Dead
@James Trapp- It is #41 on the TSPDT 21st century consensus list for 2007. I think it may be better than that- but that’s the consensus list.
Drake,
Curious as to why Before the Devil Knows You’re Dead (2007) is only a R.
I think there is a lot of impressive work here:
The performances are phenomenal particarly PSH who plays a very different character than his meek roles like Magnolia, The Big Lebowski, Boogie Nights, etc. Here he is a ruthless and manipulative schemer but also has 2 scenes where he breaks down, it’s a very rich character. Also the framing of the faces of PSH and Albert Finney, who plays his father, in the emotional heart to heart conversation is well done; PSH states he feels like he’s never been a part of the family, gutwrenching
I don’t think using a non-linear narrative is praise worthy just for the sake of using a non-linear narrative but I think it is effective here in showing the family dynamics, which are key to understanding the character motivations
As you state above many of Lumet’s films are morality plays and this certainly fits within the Lumet worldview. There is a great scene where Albert Finney’s character starts investigating the robbery/murder and he goes to see a man who plays the fence in the robbery(it is made clear him and Finney’s character have a history and they do not like each other). The fence gives a speech to the Finney character who he believes to be somewhat naive right before revealing that it was his very own son who initiated the robbery “The world is an evil place. Some people make money from it, some people are destroyed by it”
@m – thanks, as always, for sharing your thoughts. I hope I find myself to be wrong when I go back and revisit 12 Angry Men. It’s not that i found it flawed, just stage-bound– uncinematic. I like the same things about it you like, the writing, the acting the story— I just had to compare it to films that aim for more. Again, I hope there’s something I missed.
i think christopher nolan summarizes perfectly the masterpiece known as twelve angry men. ” Few films have gambled as much on a simple portrayal of the dynamics between desperate men.”
i would not call it overrated. it is a flawed film, but the dynamics are very interesting, especially how one of the jury members
(ed begley) is prejudiced and makes even his supporters in the verdict walk away with the ‘these people’ monologue. henry fonda and lee cobbs are great too. i love how they are all sweating and how it feels like the weight of the world is on them.
I just finished watching network. It’s lumet’s best. Brilliant acting, dialogue, screenplay and direction. DEvasting and relevant even today. Absolute masterpiece.
Then you have Lumets 2nd best film. 12 angry men. Perfectly shot all in one location. Great use of close ups.
Add to that Lumet’s 3rd best movie Dog Day Afternoon. A perfect heist movie with one of the 10 best acted performances of all time and a great message about gay rights.
Add to that the Verdict. Brilliant performance of Paul Newman and an overall unique and stunning courtroom drama.
All in all you have 3 EXCEPTIONAL films and 1 MS. (from his[my] top 4) In my opinion of course.
Some of his traits you forgot to mention is his remarkable realism (lack of music) and great performances/speeches by actors.
I think you are underrating him a little bit.
I’m mad as hell and I won’t take it anymore. His rating should go up a few points. (I know that was a really cringey joke. haha)
To add to your comment, I think what makes network so effective(narrative-wise) is it shows how the news networks are willing to exploit and humiliate a man (Howard Beale) who has emotional and psychological problems to improve the news ratings. They are also willing to go to any lengths,( hire a terrorist group ) to improve their ratings. This is very emotional.
Yes. That’s a good observation Oz. I noticed that too. At the end when Howard Beale gets shot I actually feel really angry and sad. It’s ironic because in the 70s this might have been seen as unrealistic but today (sadly) it is very realistic.
All the president’s men from the same year shows how effective good journalism can be. Network shows the dark side of journalism and news broadcasting. Both movies show the power and effect that journalism has in our lives. Social media today is what news channels were in the 70s.
I think Network is superior to All the President’s Men. What do you think Drake and Oz? What movie do you prefer?
Would you consider this to be one of the best written movies of all time? What would your top 3 best written movies of all time be?
I think Chinatown has a perfect screenplay. If forced I would pick that as my best written movie of all time. Drake praises Billy Wilder as a writer and i love his movies so i would pick pretty much any great movie by him also.
Chinatown’s screenplay is perfect. Casablanca is a perfect screenplay. Butch Cassidy is up there as is the Seventh Seal. The WGA did a list of the top 101 and they cover most of them and do a really good job. I do think if you’re looking for something more recent The Social Network is close.