Norman Frederick Jewison (July 21, 1926 – January 20, 2024) was a Canadian filmmaker. He is known for directing films which addressed topical social and political issues, often making controversial or complicated subjects accessible to mainstream audiences. Among numerous other accolades, he was nominated for the Academy Award for Best Director three times in three separate decades, for In the Heat of the Night (1967), Fiddler on the Roof (1971) and Moonstruck (1987). He was nominated for an additional four Oscars, three Golden Globe Awards and a Primetime Emmy Award, and won a BAFTA Award. He received the Academy of Motion Pictures Arts and Sciences's Irving G. Thalberg Memorial Award in 1999.
Born and raised in Toronto, Jewison began his career at CBC Television in the 1950s, moving to the United States later in the decade to work at NBC. He made his feature film debut in 1962, with the comedy 40 Pounds of Trouble, and embarked on a motion picture directing career that spanned over 40 years. His notable films included The Cincinnati Kid (1965), The Russians Are Coming, the Russians Are Coming (1966), The Thomas Crown Affair (1968), Jesus Christ Superstar (1973), Rollerball (1975), F.I.S.T. (1978), ...And Justice for All (1979), A Soldier's Story (1984), Agnes of God (1985) and The Hurricane (1999).
In 1988, Jewison founded the Canadian Film Centre. In 2003, he received the Governor General's Performing Arts Award for Lifetime Artistic Achievement for his multiple contributions to the film industry in Canada. He was Chancellor of Victoria University in the University of Toronto, his alma mater, from 2004 until 2010.
For four decades, he worked out of a fifth-floor office in his home at 18 Gloucester Street, a former furniture factory. In 2001, City of Toronto honored Jewison by naming Norman Jewison Park across the street in his honor. In 2023, the Hazelton Hotel named its screening room after him.
Jewison was born in Toronto, Ontario, the son of Percy Joseph Jewison (1890–1974), who managed a convenience store and post office, and Dorothy Irene (née Weaver). He attended Kew Beach School and Malvern Collegiate Institute, and while growing up in the 1930s displayed an aptitude for performing and theatre. He was often mistaken for being Jewish due to his surname and direction of Fiddler on the Roof, but he and his family were in fact Methodists of English descent. He served in the Royal Canadian Navy (1944–1945) during World War II, and after being discharged travelled in the American South, where he encountered segregation, an experience that influenced his later work.
Jewison attended Victoria College in the University of Toronto, graduating with a B.A. in 1949. As a student, he was involved in writing, directing and acting in various theatrical productions, including the All-Varsity Revue in 1949. Following graduation, he moved to London England, where he worked sporadically as a script writer for a children's television program and bit part actor for the BBC, while supporting himself with odd jobs. Out of work in Britain in late 1951, he returned to Canada to become a production trainee at CBLT in Toronto, which was preparing for the launch of CBC Television.
When CBC Television went on the air in the fall of 1952, Jewison was an assistant director. During the next seven years he wrote, directed and produced a wide variety of musicals, comedy-variety shows, dramas and specials, including The Big Revue, Showtime and The Barris Beat. In 1953 he married Margaret Ann "Dixie" Dixon, a former model. They had three children—Michael, Kevin and Jennifer—who all pursued careers in the entertainment industry. In 1958 Jewison was recruited to work for NBC in New York, where his first assignment was Your Hit Parade, followed by The Andy Williams Show. The success of these shows led to directing specials featuring performers such as Harry Belafonte, Jackie Gleason and Danny Kaye. The television production that proved pivotal to Jewison's career was the Judy Garland "comeback" special that aired in 1961, which included Frank Sinatra and Dean Martin, and led to a weekly show that Jewison was later called in to direct. Visiting the studio during rehearsal for the special, actor Tony Curtis suggested to Jewison that he should direct a feature film.
Jewison's career as a film director began when Tony Curtis' and Janet Leigh's film production company, Curtleigh Productions, hired him to direct the comedy 40 Pounds of Trouble in February 1962. The film was financed and distributed by Universal-International Pictures and was the first motion picture ever filmed at Disneyland. Curtleigh Productions' contract with Jewison had a negotiable option for further films if the initial picture was successful. In early October 1962, Jewison formed his own independent film production company, Simkoe Productions, and signed a two-picture deal with Curtis' new film production company, Curtis Enterprises, as well as an additional two-picture deal with Universal-International Pictures. Although the two pictures for Curtis Enterprises were not made, both films for Universal-International Pictures were. He made two comedies starring Doris Day: The Thrill of It All, released in 1963 and co-starring James Garner, and Send Me No Flowers, released in 1964 and co-starring Rock Hudson. After another comedy, The Art of Love (1965), Jewison was determined to escape from the genre and tackle more demanding projects.
1965–1987: Breakthrough and acclaim
His breakthrough film proved to be The Cincinnati Kid (1965), a drama starring Steve McQueen, and Jewison considered it one of his personal favourites because it was his first challenging drama. This success was followed in 1966 by a satire on Cold War paranoia, The Russians Are Coming, the Russians Are Coming; it was the first film Jewison also produced, and it was nominated for four Academy Awards, including Best Picture. He felt that doing "a plea for coexistence, or the absurdity of international conflict was important right at that moment". While reaction to Russians was positive, Jewison was labelled as "a Canadian pinko" by right-wing commentators.
Continuing his string of successes was one of the films that has become closely identified with Jewison as its director, In the Heat of the Night (1967), a crime drama set in a racially divided Southern town and starring Sidney Poitier and Rod Steiger, which won five Academy Awards, including Best Picture, while Jewison was nominated for Best Director. While he was filming, Robert Kennedy told Jewison that this could be "a very important film. Timing is everything". Kennedy reminded Jewison of that prediction a year and a half later when he presented him with the Critics' Choice Movie Award for best drama. As a follow-up he directed and produced another film with McQueen, using innovative multiple screen images in the crime caper The Thomas Crown Affair (1968). From that point Jewison produced all feature films he directed, often with associate Patrick Palmer, and he also acted as producer for films directed by others, beginning with his former film editor Hal Ashby's directorial debut The Landlord (1970). After the completion of the period comedy Gaily, Gaily (1969), Jewison, having become disenchanted with the political climate in the United States, moved his family to England.
At Pinewood Studios northwest of London, and on location in Yugoslavia, he worked on the musical Fiddler on the Roof (1971, re-issued 1979), which won three Oscars and was nominated for five others, including Best Picture and Director. During the filming of Fiddler, Jewison was also the subject of the 1971 National Film Board of Canada documentary, Norman Jewison, Filmmaker, directed by Douglas Jackson. Jewison's next project was the musical Jesus Christ Superstar (1973), based on the Broadway musical written by Andrew Lloyd Webber and Tim Rice. It was filmed in Israel, where Jewison also produced the western Billy Two Hats (1974), starring Gregory Peck. Superstar, controversial for its treatment of a religious subject, was followed by another movie that sparked critical debate, this time over violence. Rollerball (1975) is set in the near future when corporations rule the world and entertainment is centred around a deadly game. The next film he directed, the labour union drama F.I.S.T. (1978), loosely based on the life of Jimmy Hoffa, also provided some controversy, this time regarding the screenwriting credit. Screenwriter Joe Eszterhas was unhappy to share the screenwriting credit with the film's star Sylvester Stallone, as he felt that Stallone's input had been minor, while Stallone claimed to have basically rewritten the whole script.