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Is AFI Missing Their Opportunities?
As everyone knows, each year for nearly four decades, the American Film Institute has awarded a Lifetime Achievement Award to a single individual. The honor is meant to reflect that person’s “lifetime contribution to enriching American culture through motion pictures and television.” When looking at the list of recipients over the years, it’s enough to fill the Kodak Theater several times over. Some of my personal favorites include Orson Welles in ’75, William Wyler in ’76, James Stewart in ’80, Steven Spielberg in ’95 and Al Pacino in ’07.
This year, the Institute has chosen to honor Morgan Freeman for his body of work as an actor. For sure, not an unusual choice for such an award. He received his first Oscar nomination in 1988 for “Street Smart” and has been captivating audiences, multiple times a year, ever since. For me, performances simply don’t get much better than his work in “The Shawshank Redemption.” The speech in his final parole hearing is the stuff that legends are made out of.
All in all, though, aside from a few great decisions, the AFI award seems kind of tainted and lazy, as of late. The whole picture seemed to change around the time that Tom Hanks won what many called his “mid-life” achievement award ten years ago. It seems that the award is being given more on account of how popular the recipient has been in recent years instead of, say thirty years ago. There are many, MANY performers, directors and producers who are much more deserving of the award than recent fare.
I’d much rather have seen men the likes of Gene Hackman, Robert Duvall, David Lynch, Francis Ford Coppola or, for crying out loud, Woody Allen receive distinction above the likes of George Lucas, Harrison Ford, Michael Douglas, Sean Connery or Morgan Freeman. The talent ratio is nearly incomparable. I mean, in terms of weight in Academy Award recognition is 49 nominations to 13 (Douglas, Ford and Connery only sharing 4 nominations between them).
What’s even more disturbing is the complete disregard to female contributions to cinema. In the last two decades, three women have received this award. Meryl Streep is completely understandable. Elizabeth Taylor cannot be argued with. Barbara Streisand…really? Meanwhile, the following women are still living and more than deserving of this award: Faye Dunaway, Vanessa Redgrave, Maggie Smith, Julie Christie, Sissy Spacek, Diane Keaton, Glenn Close, and Jessica Lange. Perhaps the most ridiculously passed over women are Ellen Burstyn and Jane Fonda who have delivered some of the most phenomenal performances Hollywood has ever seen and have been doing so for upwards of forty years.
The greats are passing away left and right. Paul Newman, Robert Altman, Marlon Brando and, of course, Sidney Lumet are the most recent to leave this world without receiving this prestigious honor. AFI needs to keep its eyes on the prize and award some of these more-deserving folk before it’s too late.
Director Sidney Lumet Passes Away at 86
Without a doubt, perhaps the most saddening news I have heard in quite some time. Sidney Lumet, one of the greatest individuals ever produced by Hollywood, has died this morning from lymphoma.
Lumet started his career in 1957 with perhaps the greatest of all diectorial debuts, outside of “Citizen Kane.” That film was “12 Angry Men” and, to this day, it stands as a benchmark for pure suspense built through nothing more than powerhouse acting and thematic brilliance, both can be largely attributed to Lumet’s talent. Since that day, Lumet has produced a solid and intimidating career. Some classic examples of his greatness include “Fail-Safe,” “The Pawnbroker,” “Serpico,” “Murder on the Orient Express,” “Equus,” “Prince of the City,” “The Verdict,” “Running on Empty,” “Find Me Guilty” and “Network,” which is largely considered to be the most influential film of the 1970s.
Then, there’s my personal favorite, “Dog Day Afternoon,” which is one of the most rousing and unsentimental heist movies ever made. Certain scenes, such as the cheering of “ATTICA!” or Al Pacino on the phone with Chris Sarandon, live, in my mind, as absolutely classic. The film also features a performance by Pacino which I believe to be the greatest acting work of anyone on screen. Ever.
Lumet’s final film, “Before the Devil Knows You’re Dead,” was released fifty years since his opening salvo, and overall, it was a fantastic film to close out with. It’s a wholly original script, fresh and wholly captivating at points. The movie also contains my favorite performance of Phillip Seymour Hoffman’s career, which says quite a bit.
Lumet was my third favorite living director behind Steven Spielberg and Martin Scorsese. He is also easily ranked as one of the top ten greatest directors of all time, living or dead. However, words cannot fully describe this man’s greatness. Therefore, I’ll be putting together a collection of clips that help best exhibit his raw talents.
Thank you, Sidney, for being one of the greatest contributors to the world of cinema.
The Edge of the Frame 