The Anderson Tapes came just before Serpico and Dog Day Afternoon, and it showcases a lot of Lumet's strengths. The story is about the robbery of a luxurious apartment building bordering Central Park. The leader of the gang, nicknamed Duke, is played by Sean Connery, who, fortunately, does not attempt a New York accent. He is clearly identified early on as being a "limey." Martin Balsam and Christopher Walken (in his first film role) take the other major parts. The robbery does not, of course, go according to plan; for one thing, a baker's dozen of government agencies are surreptitiously bugging most everyone Duke comes in contact with prior to the robbery . In an interesting twist, the robbery section of the film is intercut with flashforwards to the robbery's aftermath. This was pretty cool stuff for 1971, and it adds another layer of tension to the entire sequence.
Lumet's skill at casting is very evident. Every secondary and minor role (there are lots of them) is filled by skilled, experienced character actors, some by name performers like Ralph Meeker and Margaret Hamilton, and others by people who simply have great faces or voices. One example of this is the role of the getaway driver, played by Dick Anthony Williams. His voice and presence grab your attention in every one of the few scenes he's in. A few years later he scored back to back Tony nominations for Best Actor. Lumet really knew how to pick 'em.
The film is shot with Lumet's characteristically unobtrusive, semi-documentary style, and the heist is a superb synthesis of camerawork and editing. The New York locations aren't any of the usual ones, but they look great. A special mention has to go to Quincy Jones' score. It's an amazing mix of jazz/funk that sometimes transitions perfectly into some electronic sound effects that represent a key aspect of the plot. There's only two aspects of the film that don't work. The first is Dyan Cannon. Never much of an actress, she provides the eye candy and romance for Connery, but their scenes together are awkward and poorly-written. The second problem is the treatment of Martin Balsam's character. He plays a flamboyantly gay interior decorator and his gayness only exists in the story so that it can be made fun of. This was amusing stuff in 1971, but today it looks pretty juvenile. This isn't one of Lumet's very best films, but it's definitely a fun and energetic example of his directorial skills.