April 22, 2011
“Sidney Lumet was wonderful. He does homework like no other director, and he is the warmest guy. Everybody was ‘my love,’ and ‘you gorgeous wonderful thing,’ and rehearsals were filled with kissing and hugging and wild exclamations of joy. Actors have never been more loved than when they were loved by Sidney Lumet.”
– Reginald Rose, in Jeff Kisseloff’s The Box: An Oral History of Television, 1929-1961
He was supposed to last forever. His fraternal twin among the live television-era directors, Arthur Penn, was frail and mostly out of the limelight during his final decades; but Sidney Lumet kept making movies, and seemed to be everywhere. His last movie, Before the Devil Knows You’re Dead, came only four years ago. A good one to go out on, it found new wrinkles in the worn-out caper genre (was that suburban mini-mall jewel heist the cinema’s first?), and reimagined faded ingenue Marisa Tomei as a fortysomething sex symbol and a sought-after actress.
More than that, Lumet was a boon to the film historian: modest, accessible, efficient, always willing to sit for an interview. No surprise that he turned out to be one of the subjects who sat for a video obituary for the New York Times. When he didn’t show for a widely publicized screening of 12 Angry Men introduced by Sonia Sotomayor last fall – the new Supreme Court justice has often cited Lumet’s debut film as an inspiration – I knew we were in trouble.
I’ve already written this next part so many times, in obituaries for Penn and for others, that I don’t want to belabor it again. But let’s lay it out before we plunge in: Lumet’s early career in television has been, and will continue to be, ignored, glossed over, or reported inaccurately in the tributes. The Times wrote that Lumet directed the live television version of 12 Angry Men as well as the film. But the former belonged to Franklin Schaffner, a fact that Lumet pointed out at every opportunity, and yet it took the paper of record eight days to notice and correct that.
Most of the shows themselves are locked away in the vaults or lost. We don’t even have a good list of them. The obits threw around a total of 200 live broadcasts (Lumet’s own estimate?) but at the moment the Internet Movie Database lists only about fifty. The on-line catalogs of the Paley Center and the UCLA Film and Television Archive, and my own unpublished research, contribute a few more, but that still leaves the majority unidentified.
Rather than dwell on that, I want to take a close look at a few of Lumet’s live television dramas that are accounted for and extant. Since his death on April 9, I’ve been watching some of Lumet’s segments of the dramatic hour sponsored alternately by Goodyear (The Goodyear Playhouse) and Alcoa Aluminum (The Alcoa Hour); specifically, six of the twelve segments that Lumet directed for this umbrella anthology, a linear descendant of the Philco-Goodyear Playhouse (which yielded “Marty”), between the fall of 1955 and the spring of 1956. Lumet’s Goodyears and Alcoas were among his first hour-long dramas after a period of directing less prestigious (but no less formally challenging) half-hour genre shows. They were also his final works for television prior to stepping onto the set of 12 Angry Men in June 1956.
“Sidney didn’t like talking to the actors on the loudspeaker, so he would tear down the spiral staircase to the stage, talk to the actor, and tear back up the staircase. O. Tamburri, our TD [technical director], once said to me, ‘If Sidney does that a little faster, he’s gonna screw himself into the ceiling.’”
– Philip Barry, Jr., associate producer of The Alcoa Hour / The Goodyear Playhouse, in The Box
“The Mechanical Heart” (November 6, 1955), Lumet’s Goodyear Playhouse debut, is a prototypical mid-fifties anthology drama. It concerns a mid-level toy manufacturer, Steve Carter (Ralph Bellamy), who operates on a razor-thin margin and faces bankruptcy when a complicated three-way deal unravels. The only way he can see to survive is to steal the sole major client of a small-time competitor (Jack Warden), who considers him a friend. The script, by a minor writer named Alfred D. Geto, is an obvious knock-off of Rod Serling’s “Patterns”; it considers some of the same ethical dilemmas faced by corporate climbers in the postwar boom, but with little of Serling’s intensity or ambiguity.
Lumet’s chief contributions to “The Mechanical Heart” are to shape the performances, and then to avoid distracting from them with fancy cutting or camera movements. Many key scenes (like the one pictured below) play out in long takes with a stationary camera. Lumet’s self-effacing staging is not an absence of style, but an aesthetic choice not to foreground content over technique. At this point in their careers, Lumet’s approach can be placed at an opposite pole as that of John Frankenheimer, another live television wunderkind who was busy exploring the technical possibilities of the medium – unusual lenses, showy camera moves, rapid cuts – without always worrying whether the material justified them.
Prominent among the supporting cast of “The Mechanical Heart” are three of the future 12 Angry Men (two more than Schaffner’s version contained), and all of them – Edward Binns, Jack Klugman, and Warden – do terrific work. Viewers who remember Klugman from his hambone Quincy days, or even his full-throttle guest spots on The Twilight Zone and Naked City, just a few years after this piece, will be startled by his restraint in “The Mechanical Heart.” When Carter suggests a shady maneuver to Klugman’s character, the company accountant, he replies, “But Steve . . . I don’t know.” The obvious choice would be to inflect the line with uncertainty or unease, but Klugman offers it as a simple statement of fact: his character literally doesn’t know what his boss should do.
One can sense Lumet working with the actors to make intellectual, rather than instinctive, choices in interpreting the material. Warden’s habit of repeatedly wiping the back of his neck with his handkerchief is such a choice. The gesture conveys his character’s nervous, underdog status, and adds a bit of atmosphere – it’s hot and humid in those midtown offices in the summer – and of course Warden would reuse it in 12 Angry Men. A more ambiguous touch comes in a later scene in which Klugman’s character again questions Carter’s ethics. “What’s the matter, Greenfield?” Bellamy sneers, with an ugly emphasis on the man’s name, and Greenfield comes back with just, “Aww, Steve.” Klugman delivers that simple line with a note of weary disappointment, then moves into an uninflected recital of some financial details. The implication of anti-semitism probably wasn’t spelled out in the script and, indeed, Lumet is so constitutionally unsuited to beating any idea to death that one can’t be entirely certain it exists within the show, either.
Lumet’s second Goodyear show was a light comedic caper called “One Mummy Too Many” (November 20, 1956), with Tony Randall as an American air conditioner salesman in Egypt who stumbles into a mystery of stolen sarcophagi. Lumet probably had to take whatever script fell into his slots on this series, but the change of pace undoubtedly suited him, just as he would later take pains to avoid being pigeonholed in any particular cinematic genre. Referring to the 1968 black comedy Bye Bye Braverman (which I find hilarious, but which many, including Lumet, thought too heavy), Lumet said that he took a long time to figure out how to direct comedy, and didn’t succeed with it until Murder on the Orient Express. But “One Mummy,” which bears some tonal similarities to Lumet’s hit 1974 film, is an agreeable trifle in which the three stars – Randall, Eva Gabor, and Henry Jones – effectively pass the fun they seem to be having along to the audience.
Lumet experiments with formal strategies for creating humor in “One Mummy,” especially in his use of depth of field to convey to the audience a punchline to which the characters remain oblivious. In one scene, Gabor’s ingenue explains to Randall’s milquetoast hero that the theft of a crate will mean his certain demise; in the background, unseen by either of them, porters enter and remove the crate in question. Another bit of slapstick, constructed in the same way, can be encapsulated in a single frame requiring no caption.
“The Trees” (December 4, 1955) is a lesser entry in another quintessential genre of early live television, the tenement drama. It’s perfect for Lumet, whose films famously teemed with the eccentric street life of Manhattan. Jerome Ross’s sentimental story concerns a neighborhood effort to raise money to plant trees along a slum sidewalk, which is threatened by the actions of, among others, a young hoodlum (Sal Mineo) and a genteel older woman (Frances Starr) angling to sell out and move to the suburbs. Lumet again favors long takes, but this time with a more peripatetic camera, which roves back and forth between rival camps that group and regroup on opposite sides of the street. The primary challenge of 12 Angry Men would be choreographing the movements of the twelve actors within a confined space, and “The Trees” shows Lumet experimenting with ways to fill the frame with people, grouping and regrouping his large cast in clusters that emphasize the cramped nature of the urban setting.
“Man on Fire” (March 4, 1956) fumbles a good, topical idea through miscasting and an underdeveloped script (by the West Coast team of Malvin Wald and Jack Jacobs). It’s a proto-Kramer vs. Kramer, a study of a successful divorced man (Tom Ewell) who cracks up when he loses custody of his only son. The role called for a sensitive, versatile actor like Warden or Klugman or George Grizzard (another Lumet favorite, the star of his final Goodyear, “The Sentry”); instead, Lumet found himself saddled with Tom Ewell, an unlikely stage and film star thanks to the recent hit The Seven-Year Itch.
The inexpressive Ewell, whom Lumet had known but not necessarily admired at the Actors Studio (he relates an encounter with Ewell there in mildly derogatory terms in his Archive of American Television interview), is a sponge for all the free-floating self-pity in Wald’s and Jacobs’s treatment; in his hands a character who should have been sympathetic turns repellent. It’s the only wholly unsuccessful performance in any of the six Lumet shows discussed here – although, in general, Lumet seems to have responded to Alcoa/Goodyear’s habit of hiring Hollywood stars by turning his attention more to the supporting casts, comprised of actors he had used dozens of times on Danger or You Are There. (In “Man on Fire,” the one effective scene belongs to Patricia Barry, the wife of Alcoa/Goodyear’s associate producer. Usually a polished ingenue, Barry shows a vulnerable side that I had not seen before when as she gently fends off a sloppy pass by Ewell, who plays her boss. Barry’s character, a career girl, explains that she has several boyfriends, none of whom she loves, and supposes she’ll marry one of them because it’s what’s done. Lumet seems more engaged by this speech, and Barry’s wistful reading of it, than anything else in the show; as a director, he always picked his battles.)
Lumet had attended the Actors Studio briefly, but he detested Method affectations. If there is a single unifying element among his live television work, it is the consistent naturalism in the performance styles, down to the smallest bit parts. Any deviation from that principle tended to occur at the top. Lumet’s results with imported stars were mixed: a failure with Tom Ewell; a split decision on Ralph Bellamy, who tears into “The Mechanical Heart” with an atypical intensity but little nuance; and a stunning success with the ingeniously reteamed ’30s Warner Bros. contract players who headlined his next segment.
“His big theory, since most people had ten or twelve-inch sets, was close-up, close-up, close-up. I would argue with him a lot, because if everything’s going to be close-up, there’s no point of emphasis. When you really need it . . . you’ve used it up.”
– Sidney Lumet, referring to Alcoa/Goodyear producer Herbert Brodkin, in his Archive of American Television interview
“Doll Face” (March 18, 1956), set entirely in an Atlantic City hotel, concerns a faded beauty queen (Glenda Farrell) who returns to the current edition of the pageant that crowned her back in 1930. In tow are her surly adult daughter (Nancy Malone) and genial husband (Frank McHugh), who conveniently is vying for a promotion at a business conference held at the same hotel. This script, also by Jerome Ross, contains as many cliches as “The Trees,” but it offers greater emotional possibilities for Lumet to explore. Lumet tamps down his actors, per usual, and ensures that each of the three main characters – any one of whom could turn grotesque, as Ewell’s distraught dad does in “Man on Fire” – is recognizably human and sympathetic. In “Doll Face” Farrell is not restrained, but she also does not turn the title character into a caricature (as a more obvious casting choice, like Shirley Booth or Joan Blondell, might have). No one overacts in any of these early Lumet shows. In part that reflects Lumet’s skill in working with actors, but it is also a consequence of his formal choices. Farrell benefits enormously from Lumet’s theory of the close-up; when he finally deploys them at the climax, her character’s distress as she is made to see herself as others see her is quite moving.
In “Doll Face” Lumet repeats a composition from “One Mummy Too Many” almost exactly: a person leans into the foreground from the left, directing the viewer’s eye to action in the middle distance toward the center and right of the frame. In “One Mummy” the effect was comedic; here it is expository (the man at left pops in to shush loud revelers).
In the space of four months, Lumet’s playful use of depth of field in “One Mummy” has evolved into a powerful, coherent compositional strategy for “Doll Face.” In a careful ballet of performers and cameras, the three principals group and regroup themselves into three-dimensional tableaux, again and again, each time with a different actor occupying the foreground, middle, and background space. “Doll Face” is essentially a three-character family drama, and Lumet uses dimensionality to signify the shifting emotional dynamic between father, mother, and child. It is the same kind of conceptual – a skeptic might say schematic or overly intellectual – strategy that Lumet would later apply to his filmmaking, as with (to use Lumet’s own example from the Times video obit) the selection of a red building as a location in Prince of the City to presage, almost subliminally, a coming bloodletting.
Chronologically, I have skipped over “Tragedy in a Temporary Town” (February 19, 1956), which is both the most famous of the Alcoa/Goodyear hours and the most directorially accomplished of the Lumet efforts in this survey. Another civics lesson from Reginald Rose, “Town” is typically pedagogic in its argument but less compromised by censorship than most. Lumet would have brought his best to the table before he even opened the script, for it was he who had produced Rose’s first teleplay on Danger in 1951. In the five years hence, each had risen to the top ranks of his profession in the New York television world, and it would be Rose who would handpick Lumet to direct his screenplay for 12 Angry Men.
A heated study of mob violence in an itinerant, working-class community of dam builders and their families, “Tragedy in a Temporary Town” has little to say on the subject of lynching (spoiler alert: it’s bad) that wasn’t already covered in The Ox-Bow Incident. But when you parse Rose’s narrative as an allegory for McCarthyism, its sly cynicism and political courage become more evident. Just as American communism was an empty threat and HUAC a hysterical overcorrection, so respectively are the attack on a teenaged girl in “Town” (a man barely touches her shoulder before running off) and the hyperactive shantytown kangaroo court that forms in response. This penny ante inquisition is ridiculous on his face. The girl never saw her attacker’s face and heard him say only one syllable, so the doofus vigilantes require every male in camp to utter the word “Hey” and press the young woman to try to make an impossible identification. The poor girl (Betty Lou Keim) is more thoroughly victimized by her defenders than by her putative attacker.
Rose scores his other major rhetorical point in his depiction of the ostensible and none-too-subtly named hero Alec Beggs (Lloyd Bridges), who is scarcely better than his opposites. Beggs abstains from the mob shenanigans but also declines to stick up for the Puerto Rican family who are marked from the beginning as inevitable scapegoats. When Beggs finally screws up his courage to confront the mob and disperses them in shame, it’s only after they have achieved their bloody catharsis by beating the shit out of the innocent Puerto Rican boy (Rafael Campos) with a thick stick of firewood. Beggs’s ineffectual liberalism and hypocrisy point a finger at various players on different sides of the blacklist, and the provocative casting of Lloyd Bridges (a HUAC friendly witness) must have resonated with Lumet (a narrow escapee of the blacklist, compelled at one point to grovel before clearance thug Harvey Matusow). Lumet was too professional to have tormented Bridges with his informer status, but still one would love to know just how much of the script’s subtext was articulated between star and director.
“Town” finds Lumet at his most expressive and illustrates a movement toward a somewhat bolder compositional style. Many of his images here (above and below, for instance) are more painterly than anything attempted in “The Mechanical Heart” or “One Mummy Too Many.” Lumet orchestrates complex crowd scenes, photographing some with a bird’s-eye camera, all of which must have given Herbert Brodkin fits. The episode’s nighttime setting all but compelled Lumet toward dramatic extremes of light and shadow. Lumet illuminates the lynch mob finale in part with the actual headlights of the vigilantes’ automobiles. Earlier, amid the harsh blacks and whites, there is one moment where Lumet flouts half a dozen tenets of television lighting and achieves a backlit effect unlike anything I’ve observed in a kinescope (or even a filmed episode).
During his climactic speech (“you’re all pigs”), Bridges begins to demolish the scenery – literally – carrying his intensity beyond the level upon which he and Lumet had agreed during rehearsals. But Lumet has built the tension so effectively to this point that “Town” can withstand such a volcanic release. As in some of Lumet’s other Alcoa/Goodyears, the supporting cast appears to be working in a different register – more detailed, more restrained, consciously (even self-consciously) resisting obvious choices. At first I had a hard time figuring out why Milton Selzer, usually one of Lumet’s underplaying ringers, is so atypically twitchy in as one of the nastier vigilantes. Then it occurred to me that actor and director probably agreed that Selzer should play the character as a closeted or self-hating homosexual – something that’s not in the text at all, and only perceptible one screen if you’re looking for it. Jack Warden, quietly upstaging Bridges, plays the lynch mob leader with a maddening calm and a visible irritation towards the more voluble hotheads. There’s a moment where Warden’s character asserts his authority by placing a hand on Beggs’s chest; Bridges casually removes it and Warden barely reacts. The gesture tells volumes about both characters: they will not lose their cool over unimportant things.
“Town” offers the clearest examples of Lumet’s strategy of expressing concise ideas through concrete filmmaking choices. His control extends beyond acting and camera movement all the way down into costuming and sound design. One of my favorite elements in “Town” is the baggy black V-necked sweater that Warden wears; a good fit for Kim Novak’s Bell Book and Candle closet, it’s the absolute opposite of what you’d expect a redneck brute to be caught dead in. The earlier Alcoa-Goodyear segments are marred by cliched symphonic scores (by Glenn Osser, moonlighting as “Arthur Meisel”); in “Town” Lumet, weaned on Tony Mottola’s minimalist guitar scores for Danger, managed to banish Meisel and eschew almost all musical accompaniment. For much of “Town,” the only background noise is the ambient sound of crickets. The most powerful element of the final image, in which Beggs’s son carries off the maimed boy, is its utter silence.
Note Milton Selzer’s effeminate gesture (center), and Jack Warden’s sweater (right).
“People always think that the smaller a thing is, the simpler it is. It is quite the reverse.”
– Sidney Lumet, in a 1965 interview with Robin Bean
Like Lumet, John Frankenheimer released his first feature film in 1957. But The Young Stranger was a flop, and Frankenheimer retreated back to television to lick his wounds. Meanwhile, the thirty-three year-old Lumet collected an Oscar nominationand became a hot property in multiple media. He made three more movies before the end of the decade – but returned to television, as Frankenheimer had, whenever he wasn’t shooting one of them. He must have loved it enough to incur the slight risk that, even with the nomination, he’d be tainted as a television guy. Lumet got the prestige assignments, of course: back to work for Herbert Brodkin to fight over close-ups on Studio One and then Playhouse 90; literary adaptations for David Susskind on the retooled Kraft Theatre and then Play of the Week; a legendary two-part Reginald Rose teleplay about Sacco and Vanzetti. He stopped in 1960 with an adaptation of the stage version of Rashomon, and more importantly, a four-hour “Iceman Cometh” that recorded Jason Robards, Jr.’s legendary Off-Broadway performance and earned raves.
But the movies beckoned, and live television was a dying medium anyway. Like Frankenheimer, Lumet made his exeunt in 1960, bequeathing a final socially conscious script that he had developed with Reginald Rose, Play of the Week’s “Black Monday,” to Ralph Nelson. (I’m not counting the autumnal return for a few episodes of 100 Centre Street, even though I’m sort of curious about them.) The films remain underrated and many of them are overlooked – Lumet has yet to fully emerge from the ghetto of “Strained Seriousness” into which Andrew Sarris dumped him in The American Cinema back in 1968. The tendency to ignore, or damn with faint praise, directors who were catholic in their choice of material and mise-en-scene – Huston, Kazan, Lumet – persists. Along with, or more than, the established classics, I’m partial to That Kind of Woman, Fail-Safe, The Hill, The Deadly Affair, and Lovin’ Molly. Some of those are no less scarce than the television episodes I’ve written about here. Seek them out.