Saturday, April 9, 2011

Prolific American film director Sidney Lumet dies

NEW YORK | Sat Apr 9, 2011 8:09pm EDT

NEW YORK (Reuters) - Sidney Lumet, an American film director known for inspiring top-notch performances from actors in a stream of classic films including "12 Angry Men," "Dog Day Afternoon," "Network" and "Fail-Safe," died on Saturday at age 86, his Hollywood talent agency said.

Lumet's death at his Manhattan home was confirmed by Michelle Suess, a spokeswoman for International Creative Management in Los Angeles.

Lumet was one of the leading film directors of the second half of the 20th century. He was prolific, directing more than 40 movies, and was versatile, dabbling in many different film genres. He shot many of his movies in his native New York.

Lumet received an honorary Academy Award for lifetime achievement in 2005. He had been nominated for Oscars five times without winning: as best director for "12 Angry Men" (1957), "Dog Day Afternoon" (1975), "Network" (1976) and "The Verdict" (1982), and for best screenplay as co-writer of "Prince Of The City" (1981).

His films, nominated in a variety of categories for more than 50 Oscars, typically were unsentimental and well-crafted, exploring intelligent and complicated themes.

In a busy 12-year span -- 1964 to 1976 -- Lumet directed 18 films, including "Fail-Safe," "The Pawnbroker," "The Group," "The Anderson Tapes," "Serpico," "Murder on the Orient Express," "Dog Day Afternoon" and "Network."

He continued to direct films well into his 80s.

"He has the energy of a young man and the mind of a young man," Oscar-winner Philip Seymour told the Houston Chronicle. Hoffman starred in Lumet's bleak crime melodrama "Before the Devil Knows You're Dead" in 2007 when the director was 83.

Lumet was acclaimed for his technical know-how and his ability to coax strong performances from actors. He drew some of the best career performances out of Hollywood stars such as Henry Fonda, Paul Newman, Al Pacino and Faye Dunaway. He directed 17 acting performances nominated for Oscars.

'I TRY NOT TO WORK WITH LUNATICS'

"Elia Kazan used to really try to get inside the head and psyche of everybody he worked with," Lumet told the New York Times in 2007, referring to the influential director. "I'm the exact opposite school. I don't like to get involved."

He added, "And I try not to work with lunatics."

Many of his films were masterpieces. In the tense 1964 Cold War drama "Fail-Safe," an electrical malfunction sends U.S. bombers on a nuclear attack on Moscow, prompting the American president, played by Fonda, to sacrifice New York to atomic bombs to avert all-out war with the Soviet Union.

In his film directorial debut, "12 Angry Men," a lone dissenting juror played by Fonda struggles to convince other jurors, including Jack Klugman and Lee J. Cobb, of the innocence of an accused murderer.

In "Network," TV executives exploit the ravings of an anchorman played by Peter Finch, who memorably shrieks, "I'm as mad as hell, and I'm not going to take this anymore!"

In 1973's "Serpico," Pacino plays an honest policeman who takes on the corruption of fellow New York cops. Pacino was back in 1975's "Dog Day Afternoon," about a man robbing a bank to pay for his male lover's sex-change operation.



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Charlie Sheen hits New York - but what IS the show?

Sat Apr 9, 2011 8:08pm EDT

NEW YORK (Hollywood Reporter) - It's a long way from Detroit to New York, especially if you're Charlie Sheen. One week after his "My Violent Torpedo of Truth/Defeat is Not an Option" tour launched in a disastrous Motor City debut, the show rolled into Radio City Music Hall on Friday night in a streamlined version that was slightly more sedate -- and quite a bit duller.

The most interesting thing Sheen did onstage was throw down the gauntlet to his former "Two and a Half Men" boss, Chuck Lorre.

Near the close of the show, when asked if he wanted his old job back, Sheen said, "Of course, I want my job back, so you guys can keep watching the best f**king sitcom in the world!" He then issued an open invitation to Lorre to join him onstage in his second New York show on Sunday night, "to fix 'Two and a Half Men'."

Sticking with the format introduced in Chicago the night after Sheen was virtually booed off the stage in Detroit, the show was moderated by an onstage interviewer.

Gone is the thankless stand-up comic who turned the term "warm-up act" into a burning at the stake. Gone is the grandiloquent sermon delivered from a lectern in which Sheen spun buzzwords into a personal manifesto for truth in a universe of "fiction-spouting, canker-tongued liar mouths." Gone is the musical guest. Gone is most of the video content hurled on the jumbo screens in desperation whenever Sheen felt the show unraveling.

All that remains of that latter element is a more elaborate reworking of the Andrea Canning "20/20" TV interview, plugged full of broad visual gags that went over gangbusters with the glassy-eyed, beer-swilling stoner crowd. Oddly, this got perhaps the best reception of any part of the show.

But just what is the show? Much as the evening has evolved since Detroit, it remains amorphous and unclassifiable. Depending on your point of view, it's either the perfect response or the ugly apotheosis of a bottom-feeding pop culture saturated in celebrity obsession, rapid-fire visual stimuli and meaningless sound bites.

"How many people want to hear the truth tonight from Charlie?" asked the unidentified moderator, ushering Sheen onstage (wearing a NY Yankees T-shirt and cap) more than 30 minutes after the scheduled start time. But nothing coherent enough to be considered anyone's truth followed.

"Surprise! I'm not staying at the f**king Plaza Hotel," announced Sheen. He then dipped into his hotel adventures over the years with a balance that probably leaned more toward mock heroics and hallucinogenic fantasy than actual experience.

We did get Sheen's account of that night last fall at the Plaza with porn star Capri Anderson. While he concedes that "a chair might have got tossed and there might have been some broken glass," Sheen says the biggest scandal that night was that despite a $30,000 tip, he didn't get to have sex with Anderson. He blamed sleep aid Ambien ("the devil's aspirin") for him ending up naked and attacking the cops.

If the New York show is any indication of what the tour has become, it must be living hell for an addict. Every time Sheen mentions crack or cocaine there are loud cheers, followed by boos whenever he says he no longer partakes.

This crowd -- most of whom looked like "Jersey Shore" rejects and watched the majority of the show through their phone-cams -- has no interest in sober, rational Charlie. They want crazed warlock Charlie. Or Carlos, as many in the house kept shouting.

The interviewer fed Sheen cues through the roughly 55 minutes he remained onstage. They ranged from early showbiz memories to specific movies like "Wall Street" and "Platoon", from his "goddesses" (who appeared briefly) to his bucket list.

None of the responses were especially illuminating, though there were some intriguing conversational detours. When Sheen started extolling his father's epic coolness, having killed Colonel Kurtz in a typhoon, you started to wonder did he think "Apocalypse Now" was real? He also cited Martin Sheen's encounter with a jungle cat in that movie as the origin of his own tiger blood. Whatever, dude.

Sheen tossed the audience a few celebrity bones. He recalled an improbable prank played on John Cusack involving 3,000 angry bees in an Indianapolis hotel. He bowed down before Kiefer Sutherland's "legendary bar tab." And he paid tribute to Nicolas Cage: "The guy's a genius and he went broke. I f**king love him."

"I'm a huge proponent of plan better," responded Sheen to one heckler. "One example of plan better might be drink less and not come here and yell at the guy you've been waiting six weeks to see." Maybe this tour is Sheen's idea of planning better.

(Editing by Jill Serjeant)



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Elizabeth Taylor's jewels, art, fashion to be auctioned

NEW YORK | Sat Apr 9, 2011 5:38pm EDT

NEW YORK (Reuters) - Elizabeth Taylor's renowned collection of jewelry, works of art, clothing and memorabilia will be sold at a series of auctions, Christie's said on Saturday.

"Christie's will be selling the historic collection of Elizabeth Taylor," who died last month in Los Angeles aged 79, the auction house said in a statement.

Taylor's possessions will be sold in a series of sales, Details and the timing of the sales will be announced at a later date, it said.

Stephen Lash, chairman emeritus of Christie's Americas, and Marc Porter, chairman of Christie's Americas worked with Taylor and her family "over the past two decades, and are most honored to have been entrusted with collection of this world renowned film legend, humanitarian and taste maker," said the statement.

Taylor, known for her beauty, love of diamonds, eight marriages and work as an AIDS activist, died of congestive heart failure in Los Angeles on March 23 and was buried the following day.

(Reporting by Chris Michaud; Editing by Jill Serjeant)



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Sidney Lumet, director of classic films, dies: report

WASHINGTON | Sat Apr 9, 2011 11:44am EDT

WASHINGTON (Reuters) - Sidney Lumet, the American film director known for inspiring top-notch performances from actors in a stream of classic films including "12 Angry Men," "Dog Day Afternoon," "Network" and "Fail-Safe," died on Saturday at age 86, the New York Times said.

His stepdaughter, Leslie Gimbel, said Lumet died of lymphoma at his home in Manhattan, the newspaper said.

Lumet was one of the leading film directors of the second half of the 20th century. He was prolific, directing more than 40 movies, and versatile, dabbling in many different film genres. Lumet often shot his movies in his native New York.

In 2005, he received an honorary Academy Award for lifetime achievement. He previously had been nominated for Oscars five times without winning: as best director for "12 Angry Men" (1957), "Dog Day Afternoon" (1975), "Network" (1976) and "The Verdict" (1982); and for best screenplay as co-writer of "Prince Of The City" (1981).

His films, nominated for more than 50 Oscars, typically were unsentimental and extremely well crafted, exploring intelligent and complicated themes.

(Reporting by Will Dunham, writing by Philip Barbara; editing by Christopher Wilson)



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