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The Odd Couple star first landed his big break opposite Henry Fonda in the 1957 film adaptation of 12 Angry Men, playing Juror 5, a smart, young man who's charged with deciding the fate of a suspected murderer.
And now Klugman will tackle the same premise, this time as wise elder Juror 9, for a month-long run at New Jersey's George Street Playhouse, beginning on 13 March.
He tells the New York Times, "Working with Fonda and the director Sidney Lumet was like a dream for me, because I could tell they appreciated me and my work and I felt very, very good then about deciding to become an actor. It'll be an honour to appear in the play."
This project marks Klugman's first theatre stint since 1998, when he appeared in Broadway play The Sunshine Boys.
Klugman has been largely absent from the entertainment industry in recent years - concerns for his health were sparked in 2009 after he collapsed outside a restaurant in California, but he's since made a full recovery. »
Black and white images flicker across absorbed young faces as timeless stories unfold. To the delight of the education charity Filmclub, classic films are captivating children as young as seven.
In the past year, a quarter of all the films watched by its members have been pre-1979 movies and some, such as The Electric Edwardians (1900), date right back to the birth of cinema.
Launched in 2008 by film director Beeban Kidron and educationist Lindsay Mackie, Filmclub (@filmclub) helps schools set up film clubs and supplies a huge range of thoughtfully curated films.
Libby Serdiuk, aged 10, was "pleasantly surprised by The General (1926):
"I had never watched a film without sound or colour. Before I knew it my eyes were glued to the screen! The stunts were exhilarating to watch, Buster Keaton was mind blowing, »
- Judy Friedberg
"The Good Wife" goes out on hiatus with a strong case of the week, a nice thawing of Alicia and Kalinda's relationship and an interesting cliffhanger regarding the investigation.
Case of the Week
The case this week is Officer Fisher, a woman accused of shooting her husband in the head with her service revolver. She maintains it was self-inflicted. But that's not the crux. The jury comes back with an unexpected guilty of murder one and Lockhart/Gardner has until sentencing to find grounds for a mistrial, which the judge is on board with because even he believes it was a miscarriage of justice.
They take various stabs at the jurors, trying to find out of they were bullied or if there was outside evidence brought in. But in the end it's the judge friending one of them on Facebook Facebranch that gets the case thrown out.
In the Television Drama Casting panel at Actorfest La, four amazing Casting Directors -- with credits that include "Dirty, Sexy, Money," "Shameless," "Gossip Girl," and "Bones" -- teach you how to break into TV.Want to know how to break in to television dramas? From co-stars to series regulars and from pre-read to network test -- top casting directors discuss all sides of television procedurals casting.Speakers include (bios below): -- Mary Jo Slater, Casting Director-- John Frank Levey, Casting Director-- David Rapaport, Casting Director-- Rick Millikan, Casting DirectorTo register for this dynamic workshop, visit actorfestla2011.eventbrite.com.Proud casting accomplishments for Mary Jo Slater include William Friedkin's "Twelve Angry Men" for Showtime, starring Jack Lemmon, George C. Scott, and James Gandolfini and receiving a C.S.A. nomination; the DreamWorks feature "The Contender," starring Joan Allen, Jeff Bridges, and Gary Oldman and also receiving a C.S. »
- firstname.lastname@example.org ()
In our newly on-camera law courts, it's a matter of time before someone can't handle the truth
Allowing television cameras inside English and Welsh law courts might be a good thing for democratic transparency, but in entertainment terms, it'll be a disaster. On the one hand it will reveal the gaping chasm between legal dramas like Damages or Anatomy of a Murder and the mundane reality of some old duffer in a wig droning on interminably. Worse still is the prospect of that extra limelight encouraging our proud legal system to amp up its performance aspects.
So brace yourself, magistrates, for a sudden rash of mavericks operating out of their cars (Matthew McConaughey in The Lincoln Lawyer), ditzy prosecutors using the courtroom as a catwalk (Reese Witherspoon in Legally Blonde), or macho barristers chewing the oak panelling (Al Pacino in … And Justice For All, The Devil's Advocate, you name it).
If we're lucky, »
- Steve Rose
I recently had the pleasure of speaking with Stevan Mena, the director, writer, and producer of Bereavement. This is the second film in the Malevolence trilogy, with his previous efforts including Malevolence (2004) and Brutal Massacre: A Comedy (2007).
During our interview, Stevan and I got to chat about the actors in the Bereavement, plans for the third film in the trilogy, and a bit about Mena beyond the limelight.
**Spoiler Warning: This interview discusses elements of Malevolence that would be considered spoilers to those that have not seen the film. **
For anyone who has seen Malevolence, you probably expect that Bereavement would follow suit in brutality and anguish. While Bereavement continues to pack the ferocious nature seen in Malevolence, one thing it adds to the mix is character growth. Not only does the viewer get more insight into the enigma that is Martin Bristol, but we actually have deeper connections between the characters in general. »
- Steph Howard
Today, The Criterion Collection officially announced their upcoming slate of films for the month of November and it is quite an assortment of some of cinema's most revered films and beloved filmmakers.
Of the five releases (three standalone releases and two box sets), two of these are new additions to the collection. Sidney Lumet's 1957 acclaimed courtroom drama 12 Angry Men and Krzysztof Kieslowski's amazing Three Colors Trilogy. This is being released as a three-disc box set comprised of all three films (Blue, White and Red) which not only serve to symbolize the French flag, but they also represent the tenets of the French revolution (liberty, equality and fraternity).
The other three releases provide some much requested upgrades to some of Criterion's most beloved DVD releases. First, there is Jean Renoir's The Rules of the Game, a French gem from 1939 that is equal parts critique and comedy. Next up »
Release Date: Nov. 22, 2011
Price: DVD $29.95, Blu-ray $39.95
The jury sweats it out in the classic 12 Angry Men.
Arguably one of the most radical big-screen courtroom dramas in cinema history, Sidney Lumet’s (Network) 12 Angry Men, a behind-closed-doors look at the American legal system, is as riveting as it is spare.
The iconic 1957 film adaptation of Reginald Rose’s (The Wild Geese) teleplay stars Henry Fonda (Once Upon a Time in the West) as the initially dissenting member of a jury of white men ready to pass judgment on a Puerto Rican teenager charged with murdering his father. What results is a saga of epic proportions that plays out in real time over 90 minutes in one sweltering room.
Veteran actor Tom Aldredge has lost his battle with cancer at the age of 83.
The star died from lymphoma at a hospice in Tampa, Florida on Friday.
Aldredge was a regular on stage and screen, appearing in films like Cold Mountain in 2003 and The Assassination of Jesse James by the Coward Robert Ford in 2007.
He also earned a Daytime Emmy Award in 1978 for Outstanding Individual Achievement in Children's Programming for his role on Henry Winkler Meets Shakespeare; an episode aired as part of The CBS Festival of Lively Arts for Young People.
A celebrated Broadway star, Aldredge also starred in more than 28 stage productions including The Crucible, Twelve Angry Men and Tom Sawyer.
He landed a total of five Tony Award nominations throughout his stage career for performances in shows such as Sticks and Bones (1972), Stephen Sondheim musical Passion (1994), and Twentieth Century (2004).
Steve James's authentic, epic slice of Chicago gangland life walked away with the Special Jury prize without a judges' fight
At a time when documentaries often come adorned with all manner of stylistic frills, there's a traditional, even old-fashioned, feel to Steve James's The Interrupters – a meticulous, interview-heavy account of life and death in inner-city Chicago. It also, and this may not be coincidence, has a staggering heft and authenticity – one reason it walked away yesterday with the Special Jury prize at the 2011 Sheffield Doc/Fest.
Having been on the jury for the award, part of me had been hoping for a Twelve Angry Men-style dust-up in which I got to defend a masterpiece that would otherwise be discarded. Boringly but tellingly, James's film turned out to be a unanimous choice, a mark of its excellence given that the shortlist didn't have a bad movie on it. (We did »
- Danny Leigh
Last week I did a piece on how early syndication of movies to TV provided a culturally unifying base for Baby Boomers. Most of us, however, probably think of syndication as being less about movies and more about recycling old TV shows. And, in time, so it became.
TV writer/producer/director Bill Persky remembers syndication being a movie-driven business in the medium’s early years since “…there weren’t that many series to syndicate…” By the 60s, however, TV production companies had amassed enough defunct TV shows to turn syndication into an increasingly profitable series-recycling business feeding a bottomless market. Independent stations filled their days with a patchwork quilt of old TV shows, old movies, local news and sports, and even network affiliates had hours to fill between blocks of network programming.
The recycling of old TV shows had the same impact on Boomers recycling old movies did; it »
- Bill Mesce
Although overshadowed by the entertainment juggernaut that is the Oscars, the Golden Globes has become an event in its own right over the years. The ceremony has drawn much criticism of late, with accusations that it caters to the stars in an effort to boost ratings. However, the awards have generally favoured commerciality over independent film - and that has not always been a bad thing.
In fact, the Golden Globes' larger programme of awards and extended categories no doubt influenced the Oscars' decision to once again extend its Best Picture category to include ten nominations, consequently opening the field to more commercial fare.
Now in its 68th year, the Globes has often managed to supersede its older more prestigious sibling in both its choice of nominations and ultimate winners. Therefore, as a reminder to all the naysayers that think the ceremony is just a narcissistic pat on the back of an already over-indulgent industry, »
The Oxford scholar Peter Levi had a theory that Shakespeare was popular because he had only one theme. A man or a woman, he said, is given a task to which he or she is unequal, and comedy or tragedy follows. Thus Hamlet, an adequate joshing student, is a poor avenger, Brutus, an adequate stoic philosopher, a poor generalissimo, Othello a fine generalissimo but a dumb older husband of a young white wife, Malvolio a shambolic wooer, Viola a lousy transvestite, and so on.
This theory well fits The King’s Speech and explains its international popularity. We all of us as children have been made to recite, or sing, or perform acrobatics on stage, and have dreaded the anguished humiliation the experiment was bound to bring to us. »
- Miguel Gonzalez
One of New York’s finest filmmakers, Martin Scorsese, has spoken out about the death of Sidney Lumet, the Oscar-nominated director with a similar passion for shooting in the Big Apple. Scorsese released the following statement to EW about Lumet, who passed away at the age of 86 on Saturday: “The death of Sidney Lumet really marks the end of an era. He started in theatre as an actor, worked his way through the golden age of live television, and by the time he made his debut in 1957 with Twelve Angry Men, he was already a seasoned veteran. He had a unique gift with actors, »
- Kate Ward
Albert Finney, Lauren Bacall, Sidney Lumet, Murder on the Orient Express Sidney Lumet, whose performers ranged from Katharine Hepburn to Sharon Stone, from Ralph Richardson to Marlon Brando, from Anna Magnani to Al Pacino, from Lauren Bacall to Jane Fonda, from Simone Signoret to River Phoenix, from Paul Newman to Vin Diesel, from Wendy Hiller and John Gielgud to Diana Ross and Michael Jackson, and among whose films are Twelve Angry Men, Serpico, Murder on the Orient Express, Dog Day Afternoon, Network, The Verdict, and Before the Devil Knows You're Dead, died earlier today at his home in Manhattan. Lumet, who had been suffering form lymphoma, was 86. Many won't recognize the name behind the aforementioned movies. That's because Lumet, strangely, was never a star director like Alfred Hitchcock, Frank Capra, Elia Kazan, and John Ford, or more recently, Steven Spielberg, George Lucas, and James Cameron. Just as strangely, there has »
- Andre Soares
Sidney Lumet was a master moviemaker in every sense of the word. Take a look at your all-time top ten, and he’s mostly likely got at least one spot on it. Serpico, Network (my personal #2), Dog Day Afternoon, Long Day’s Journey Into Night and a list that continues (and logic-defyingly includes The Wiz) until the paper runs out. Maybe you’d like to experience more movies by the man, or maybe you’d like to introduce yourself to him after his unfortunate passing. Maybe your goal is to post up on the couch and watch Lumet movies all day. Well, you can, and we’ll be right there with you. Here are just 7 of his movies that you can watch immediately through Netflix. The Group (1966) Lumet crushed it right out of the gate with Twelve Angry Men, and he’d made ten movies before The Group, but if you’ve already fallen in love with »
- Cole Abaius
Sidney Lumet, one of the greatest directors that movies has ever seen, passed away in New York City today at the age of 86. Lumet had been diagnosed with Lymphoma.
Lumet began his career directing live television in the 1950’s, then jumped into movies. The first movie he directed in 1957, Twelve Angry Men, starring legendary actor Henry Fonda, was one of the best courtroom movies ever. The film was about twelve men on a jury deliberating on a verdict. During what many film critics call one of the best era’s in movies, Lumet dominated the 1970’s with many films. He and Academy Award winner, Al Pacino, worked together a few times, making the 1973 film Serpico, and the 1975 bank robbery drama, Dog Day Afternoon. Both of those films are considered some of Pacino’s best work. In 1976, Lumet went on to make the film Network, which was lampooning the television world at that time. »
One of the quintessential American filmmakers of the 20th century, Sidney Lumet passed away earlier this morning at his home in Manhattan, at age 86. His stepdaughter, Leslie Gimbel, attributed his death to complications arising from lymphoma (cancer of the lymph nodes).
Born in Philadelphia on June 25th, 1924, to actor Baruch Lumet and dancer Eugenia Wemus Lumet, Sidney Lumet actually began performing on Broadway as a kid during the 1930s and made his film acting debut at age 15 in … One Third of a Nation…
Lumet would go on to become a successful television director during the 1950s, helming multiple episodes of shows like Danger, You Are There, The Best of Broadway, and The Alcoa Hour. He made his feature-length film directorial debut in 1957 with Twelve Angry Men, a multiple Oscar-nominee that the American Film Institute (AFI) ranks as ...
Click to continue reading Sidney Lumet Passes Away at 86
- Sandy Schaefer
9 April 2011 9:55 AM, PDT | IMDb News
Director Sidney Lumet, whose gritty portraits of New York City earned him four Oscar nominations for Best Director for films such as Dog Day Afternoon and Network, died Saturday of lymphoma at his home in Manhattan; he was 86. Synonymous with the New York filmmaking scene, Lumet prowled the streets of his adopted hometown in a wide variety of films, working in the nascent medium of television in the early 1950s before making his feature film directorial debut in 1957 with the cinematic adaptation of the jury room classic 12 Angry Men, starring Henry Fonda. That film earned Lumet his first Oscar nomination and started a prolific career that would take him through crime dramas, Broadway and literary adaptations, occasional Hollywood films, and lacerating satires.
Born in Philadelphia to parents who were in show business -- his father was an actor and director, his mother a dancer -- he appeared in numerous Broadway plays as a child and young adult before serving three years in the Army during World War II and returning to New York to direct. Lumet's directorial style, described as "lightning quick" in an era when American cinema was still burdened by the limitations of decorative and expensive Hollywood films, earned him a successful career in television, where he adapted numerous plays for such early shows as Playhouse 90 and Studio One, and worked with the young Walter Cronkite on the news series You Are There. He directed a TV version of 12 Angry Men before turning it into a successful 1957 film, starring Henry Fonda as the lone dissenting juror in a murder trial; the film earned three Academy Award nominations (Best Picture, Director and Screenplay) and singlehandedly established Lumet's cinematic directing career.
Lumet alternated film and television work in the late 1950s and early 1960s -- including a television version of The Iceman Cometh starring Jason Robards -- before helming a number of acclaimed cinematic films in the early 1960s: the devastating adaptation of Eugene O'Neill's Long Day's Journey Into Night (1962) starring Katharine Hepburn and Ralph Richardson; the New York drama The Pawnbroker (1964), which earned Rod Steiger a Best Actor Oscar nomination; and the nuclear drama Fail-Safe (also 1964), starring Henry Fonda and Walter Matthau. Through the late 1960s and early 1970s some of Lumet's work was uneven -- adaptations of bestsellers The Group (1966) and The Anderson Tapes (1971) as well as Chekhov's The Sea Gull (1968) are admirable but not entirely successful -- but scored again throughout the 1970s. The crime drama Serpico (1973) helped cement Al Pacino's star status after The Godfather -- and earned the actor his first Best Actor Oscar nomination, and the actor and director paired again in 1975's Dog Day Afternoon, the story of a bank heist gone crazily awry; the film, now considered a modern classic, earned Lumet and Pacino Oscar nominations and some of the best reviews of their careers. In between those films, set in New York, Lumet took a literal and figurative jaunt with the successful adaptation of Agatha Christie's Murder on the Orient Express (1974), an upper-class murder mystery set on a luxury European train that seemed as far from the seamy streets of Manhattan as possible.
In 1976, Lumet explored the themes of media exposure and saturation he delved into with Dog Day Afternoon even further with the scathing television satire and drama Network, starring William Holden, Faye Dunaway and Peter Finch. Lumet, along with screenwriter Paddy Chayefsky, pioneered the idea (and condemnation) of what is now commonly thought of as reality TV in his story of a network anchorman (Finch) who suffers a breakdown on live television with the rallying cry "I'm mad as hell, and I'm not going to take it anymore!", and the television executive (Dunaway) who turns him into a folk hero, TV icon, and tragic figure, ultimately goading him into committing suicide live on television. The film, still potent and more lacerating than most explorations of modern media since, won Finch and Dunaway Oscars; Finch's award was posthumous, as the actor died in early 1977. It remains one of only two films to win three Academy Awards for acting (the third for supporting actress Beatrice Straight, who appeared onscreen for less than six minutes), the other being A Streetcar Named Desire.
After that string of commercial and financial hits, Lumet's career included a wide variety of films: adaptations of Broadway hits Equus (1977, fairly successful), The Wiz (1978, a musical flop but a strangely visionary view of New York), Deathtrap (1982, unexpected fun if not a perfect film); crime drama Prince of the City (1981, one of Lumet's most unheralded fims); courtroom drama The Verdict (1982, a big hit that earned star Paul Newman and Lumet Oscar nominations); Hollywood melodrama (1986's The Morning After, starring Jane Fonda); and indie drama (Running On Empty, the 1988 drama with River Phoenix in his only Oscar-nominated performance). Lumet's last film was the 2007 drama Before the Devil Knows You're Dead, which starred indie stalwarts Philip Seymour Hoffman, Marisa Tomei, Ethan Hawke, and Amy Ryan.
Lumet was married four times, first to actress Rita Gam, second to socialite Gloria Vanderbilt, and third to Gail Jones, daughter of Lena Horne. He married Mary Gimbel, who survives him, in 1980 and had two daughters with Ms. Jones, Amy Lumet and screenwriter Jenny Lumet, who scripted the drama Rachel Getting Married. Nominated for five Oscars (four for directing, one for screenplay), Lumet was awarded an honorary Academy Award at the 2004 Oscars. »
- Mark Englehart
Like Nolan’s debut, his first feature, Limbo, was a micro budget affair which cost $9000 and was produced mostly through using his student credit card. His follow-up, Legacy: Black Ops, which was released on DVD last week (you can read our review here), also shares a link to Memento via its similar delve into the mind of a troubled and psychologically-unbalanced protagonist (a striking central performance from The Wire’s Idris Elba).
Ikimi is of Nigerian descent and attended primary school in Nigeria and public school in England before gaining a literature and writing degree from Columbia University, New York. His next project (a sci-fi film) is currently in pre-production.
We caught up with him to chat about the making of ‘Black Ops’ and how he manages to get a one of »
- Adam Lowes
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