Norman Jewison Movies

Mark Wexler is a successful photojournalist who has also distinguished himself as a documentary filmmaker, but in many ways he has spent much of his life in the shadow of his more famous father, Haskell Wexler. One of Hollywood's greatest cinematographers, Haskell is also known as a director (he made the acclaimed feature Medium Cool as well as a handful of documentaries) and as a tireless political activist. But while Haskell is widely respected as a major talent, he's also known for being fiercely opinionated and difficult to work with, and Mark makes no secret of the fact that he's had a prickly relationship with his dad. Mark Wexler takes a detailed look at the life and work of Haskell Wexler in Tell Them Who You Are, which examines Haskell's career in the movie business, his relationship with his family (including his three marriages and his frequent lack of respect for Mark), and how he's viewed by his friends and peers. Interview subjects include Jane Fonda, Paul Newman, George Lucas, Michael Douglas, Milos Forman, Ron Howard, Dennis Hopper, and many more. ~ Mark Deming, Rovi

While most casual filmgoers take little note of the editing in a movie, committed fans and filmmakers know that it's the editor who determines the pace and rhythm of a motion picture and that skillful cutting can change the flow of the story, even out inconsistencies in the mood and feel of a picture, and adjust the narrative focus. Editing is more than just assembling shots in a certain order, it's an art form, and this documentary celebrates the craft and how it has grown and evolved through the history of the cinema. Edge Codes.com: The Art of Motion Picture Editing traces this story from the world of pioneering silent auteurs such as Georges Méliès and D.W. Griffith through the bold stylings of the masters of the French New Wave to the technical and creative innovations of films like The Matrix, Memento, and The Sixth Sense. Edge Codes.com includes interviews with noted directors George Lucas and Norman Jewison, as well as top editors Thelma Schoonmaker, Zach Staenberg, Dody Dorn, Andrew Mondshein, and many more. ~ Mark Deming, Rovi

In 1966, Rubin "Hurricane" Carter was a top-ranked middleweight boxer whom many fight fans expected to become world champion. When three people were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and questioned by police. Although the police asserted that Carter and Artis "were never suspects," a man named Alfred Bello, himself a suspect in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of murder, and Carter was given three consecutive life sentences. Throughout the trial, Carter proclaimed his innocence, saying that his African-American race and work as a civil rights activist were the real reasons for his conviction. In 1974, Bello and Arthur Bradley, who also claimed that Carter was present at the scene of the crimes, recanted their testimony, but Carter and Artis were reconvicted. In the early 1980s, Brooklyn teenager Lesra Martin worked with a trio of Canadian activists to push the State of New Jersey to reinvestigate Carter's case; in 1985, a Federal District Court ruled that the prosecution in Carter's second trial committed "grave constitutional violations" and that his conviction was based on racism rather than facts. Carter was finally freed, and he summed up his story by saying, "Hate got me into this place, love got me out." The Hurricane is based on Carter's incredible true story and stars Denzel Washington as Carter, Vicellous Shannon as Lesra Martin, and John Hannah, Liev Schreiber and Deborah Unger as the Canadian activists. Veteran filmmaker Norman Jewison directed. ~ Mark Deming, Rovi

Albert Franklin (Haley Joel Osment) is the son of stage magician Lorraine Franklin, and has learned to do a few magic tricks of his own. However, when his mother dies and he is sent to live with his aunt Harriet (Whoopi Goldberg), it becomes clear that for him the boundary between stage magic and the real kind is just a bit fuzzy. This is fortunate, because the young man needs a friend. The friend magically appears in the form of a spirit (Gerard Depardieu) calling himself "Bogus," who helps him figure out how to meet the challenge of relating to his very preoccupied aunt. She is more concerned with keeping her restaurant supply company afloat than she is with her new ward. Things change when she, too, catches a glimpse of the spirit. ~ Clarke Fountain, Rovi

In the television miniseries Picture Windows, a number of acclaimed Hollywood directors and top stars team up for short stories about love. In "Soir Bleu," directed by Norman Jewison, Tully (Alan Arkin) is a clown who has fallen in love with a married woman. To make matters more complex, her husband is the manager of the circus Tully works for. He also beats her, and Tully is desperate to do something to free her from her awful predicament. Peter Bogdanovich directs "Song of Songs," in which George Segal plays Ted, who runs a bakery and has both a wife (Sally Kirkland) and a mistress (Brooke Adams). Soon Ted learns the hard way about the difference between love and lust. And in "Language of the Heart," directed by Jonathan Kaplan, an aging orchestra conductor (Michael Lerner) uses the wisdom of his years to help bring together a poor but gifted busker and a lovely young dancer. Picture Windows was originally produced for the Showtime premium cable network. ~ Mark Deming, Rovi

Norman Jewison directed this subdued character study of the effect of the Vietnam War on a small-town Kentucky family -- based on the novel by Bobbi Ann Mason. The film centers upon 17-year-old Samantha (Emily Lloyd) who lives in Hopewell, Kentucky with her Uncle Emmett (Bruce Willis), a quiet, laid-back veteran of Vietnam suffering from post-traumatic stress. Samantha's father was killed in Vietnam when he was 19-years-old (almost her age now), and her mother Irene (Joan Allen) has remarried. Samantha finds some old photographs of her father, and she becomes obsessed with finding out more about him. Irene, who has moved to Lexington with her second husband, wants Samantha to move in with them and go to college. But Samantha would rather stay with Uncle Emmett and try to find out more about her father. Her mother is no help, as she tells Samantha, "Honey, I married him four weeks before he left for the war. He was 19. I hardly even remember him." Finally Samantha, Emmett and her grandmother (Peggy Rea) go to visit the Vietnam Veterans Memorial in Washington. Finding her father's name in the memorial releases cathartic emotions in Samantha and her family. ~ Paul Brenner, Rovi

When there's a full moon over Brooklyn, anything can happen, and everything happens in the neighborhood where widowed bookkeeper Loretta Castorini (Cher) lives. First, Loretta agrees to marry a man she does not love, Johnny Cammareri (Danny Aiello), simply because he knows how to propose properly. Before the wedding can take place, Cammareri must visit his dying mother in Sicily. In his absence, Loretta is supposed to try to patch up the differences between Johnny and his brother, bakery operator Ronny Cammareri (Nicolas Cage). Having never forgiven Johnny for indirectly causing the accident that crippled him, Ronny flies into a rage whenever his brother's name is mentioned. He does, however, fall for Loretta like a ton of bricks. After a torrid affair, Loretta tries to avoid Ronny out of respect to Johnny, but he's just too fascinating to resist. Meanwhile, Loretta's father (Vincent Gardenia) is fooling around with his mistress Mona (Anita Gillette), while Loretta's mother (Olympia Dukakis) is wooed by a college professor (John Mahoney). These brief flings are forgiven and forgotten, but there's still the delicate situation of Loretta being in love with her future brother-in-law. A now-classic romantic comedy, Moonstruck won Oscars for Cher, Olympia Dukakis, and screenwriter John Patrick Shanley. ~ Hal Erickson, Rovi

Inspired by the Herman Melville novel Billy Budd, writer Charles Fuller created the Pulitzer Prize-winning A Soldier's Play, which he then adapted into this film drama in 1984, for socially conscious, liberal director Norman Jewison. In the racially-divided 1940s, Fort Neal, Louisiana, is a military base where black soldiers are sent not to fight in WWII but to play baseball against other armed forces teams. The murder of a black sergeant, Waters (Adolph Caesar) brings an investigator, Captain Davenport (Howard E. Rollins, Jr.) to the base. Davenport, the first black officer that most of the men have ever met, suspects that a pair of white men were responsible for Waters' death, but his probe reveals that nearly everyone, regardless of skin color, had ample reason to kill the loathsome but pitiable Waters. The cast of A Soldier's Story features early supporting performances from several African-American actors who would go on to greater prominence, including Denzel Washington, David Alan Grier, and Robert Townsend. The film was nominated for three Oscars: Best Picture, Best Supporting Actor (Caesar) and Best Adapted Screenplay. ~ Karl Williams, Rovi

In this latest of a long string of underground films, Lothar Lambert has chosen to parody himself and the underground film industry, flying Ulrike S. to New York and Toronto for sequences in which she talks to the well-established movie director Norman Jewison (Moonstruck, Agnes of God) about mainstream work and to other underground filmmakers about their projects. Finally, Ulrike decides to chuck the whole business and go back to what she was doing in the first place -- working at a drug store. ~ Eleanor Mannikka, Rovi

Christopher Walken stars in John Irvin's graphic adaptation of Frederick Forsythe's novel about a mercenary sent to overthrow the government of an African country. Walken is Shannon, an American soldier of fortune who has staged incidents in Central America and Africa that helped topple governments. Shannon decides to take on one more mission when American businessman Endean (Hugh Millais), working for a large mining company wanting to move into an African country, hires Shannon to scout out the terrain of the country and see if the government is weak enough to be overthrown. Shannon assumes the guise of a photographer for a nature magazine and travels through the country, meeting a wide-array of people. But the government becomes suspicious of Shannon and throws him in jail, where, between torture sessions, he meets an imprisoned dissident leader. Through his imprisonment, Shannon comes to understand more fully the struggles of the African country. ~ Paul Brenner, Rovi

F.I.S.T. is author Norman Jewison's chronicle of an innocent and idealistic young man corrupted by power and success as seen through the rise of the United States labor movement. Sylvester Stallone plays a Jimmy Hoffa-inspired figure who rises through the union ranks during turbulent labor times. The film begins in 1937 during the burgeoning of the labor movement. Johnny Kovak (Sylvester Stallone) works on the dock unloading trucks for Win Talbot's (Henry Wilcoxon) trucking company. He turns to organizing the truckers for union representative Mike Monahan (Richard Herd). When Monahan is killed in a fight by strong-arm men hired by the company, Johnny becomes involved with Vince Doyle (Kevin Conway), the local gangster. After an angry response by the union, culminating in a massive riot, Johnny firmly aligns himself with Doyle, and the mob gets its meathooks further into the union. Thanks to the infusion of mob support, the union grows rich and powerful, along with Johnny. By the end of the 1950s, Johnny has so much power that he even manages to blackmail international union leader Max Graham (Peter Boyle) out of his job. Johnny is sitting on top of the world -- that is, until crusading United States senator Andrew Madison (Rod Steiger) targets Johnny's union for a federal investigation. ~ Paul Brenner, Rovi

The second Biblical epic to be turned into a musical by composer Andrew Lloyd Webber and lyricist Tim Rice, this box-office disappointment recounts the last week in the life of Jesus Christ in rock-opera format and from the surprising point of view of Christ's betrayer, Judas Iscariot. Carl Anderson stars as Judas, who has begun to believe that Jesus (Ted Neeley) has sold out and started buying into the mythology that's quickly springing up around him. Particularly disturbing to Judas is the relationship between Jesus and his friend Mary Magdalene (Yvonne Elliman), a prostitute. When Jesus throws a temper tantrum at the moneylenders in a temple, Judas determines to work with the Pharisees who want to put Jesus on trial as a false prophet. Following his success with the adaptation of Fiddler on the Roof (1971), director Norman Jewison experimented with a hippie-influenced sensibility on Jesus Christ Superstar (1973). Among such touches are depictions of the cast arriving via bus to mount the show, modern high-tech weaponry in the hands of the ancient Romans, and on-location filming in Israel. ~ Karl Williams, Rovi