Norman Jewison – Oscar-nominated director of ‘Fiddler on the Roof,’ ‘Moonstruck’ and ‘In the Heat of the Night’ – is dead at 97

Norman Jewison, a seven-time Academy Award nominee who directed the 1968 Best Picture Oscar winner “In the Heat of the Night” as well as Oscar winners “Fiddler on the Roof,” “Moonstruck” and numerous other iconic films, is dead. He died peacefully on Saturday at his home.

A filmmaking giant in the 1960s, ’70s and ’80s, Jewison was undeniably one of the most prominent producer-directors never to have won an Oscar – though he was honored with the prestigious Irving G. Thalberg Award at the Academy Awards in 1999. He was nominated three times for his directing: “In the Heat of the Night” in ’68 (losing to Mike Nichols for “The Graduate”), “Fiddler on the Roof” in 1972 (William Friedkin won for “The French Connection”) and “Moonstruck” in 1988 (won by Bernardo Bertolucci for “The Last Emperor”). He was also nominated for producing a quartet of Best Picture contenders: “The Russians Are Coming, the Russians Are Coming” (1967), “Fiddler” (’72), “A Soldier’s Story” (1985) and “Moonstruck” (’88).

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All told, the films Jewison had a hand in as producer or director (or both) earned 46 Oscar nominations and 12 wins. Yet his name is rarely mentioned when discussing the most accomplished filmmakers of his time, leaving his legacy a highly underappreciated one. However, he remains a towering icon of the Jewish community for his association with “Fiddler on the Roof” – a connection that nonetheless carries with it an ironic twist.

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In a 2022 documentary on the making of “Fiddler on the Roof,” a legendary musical detailing the Jewish experience in Imperial Russia in the early part of the 20th century, Jewison shared a now-familiar anecdote. When producers of the Broadway musical version of “Fiddler” approached him about directing the film adaptation, he sheepishly informed them that he wasn’t actually Jewish despite his surname. He got the job anyway, and generations of Jews have been left to presume the director’s heritage incorrectly. In fact, perhaps the most beloved Jewish classic of all time was made by a goy. (Jewison was actually Protestant but happy to be assumed Jewish.)

The Canadian-born Jewison’s long, distinguished and profoundly eclectic career also included directing “Send Me No Flowers” (1964) with Rock Hudson and Doris Day, “The Cincinnati Kid” (1965) and “The Thomas Crown Affair” (1968) with Steve McQueen, “Jesus Christ Superstar” (1973), “Rollerball” (1975), “And Justice for All” (1979) with Al Pacino, “A Soldier’s Story” (1984), “Agnes of God” (1985) and “The Hurricane” (1999). He also enjoyed a lengthy stint directing in the pioneering days of television in the 1950s, later helming specials with Danny Kaye, Harry Belafonte and Judy Garland in the early 1960s.

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Though he never won a DGA Award, the Directors Guild bestowed on Jewison an honor for Lifetime Achievement in 2010.

DGA President Lesli Linka Glatter issued the following statement on Monday after the announcement of Jewison’s passing:

“Today we mourn the loss of a legendary director. Known for his influential and impactful filmography over many decades, Norman was also one of our DGA heroes – a warrior and champion always ready to defend his fellow directors, their creative rights and the craft of directing. Norman’s cinematic range was truly remarkable—few filmmakers can so fluidly and eloquently move between romantic comedies, dramas and musicals as he did.

“But his most powerful films, and those he said were his ‘dearest,’ tackled racism and injustice, including ‘In the Heat of the Night’ and ‘A Soldier’s Story,’ both of which brought DGA Awards nominations. For his outstanding representation of the director’s craft, we awarded him in 2010 with the guild’s top honor, the DGA Lifetime Achievement Award.

“In addition to directing, the importance of guilds and unions and the fight for racial justice and equality was central to Norman’s work and life. A dedicated and passionate member of the guild, Norman served on the National Board, the DGA Western Directors Council and on many committees, always mentoring others and working to preserve and expand the creative rights of DGA members. He will forever be remembered by his fellow directors as a vibrant force—bringing depth, insight and a necessary dose of humor to everything he touched. Our thoughts are with his wife Lynne, his family and the many directors and directorial team members fortunate to have been influenced by him.”

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