A look back at Norman Jewison’s stellar directing career and commitment to Canadian filmmakers

FILE: Jewison at a CFC Garden Party in 2012. (Photo By Canadian Film Centre / Ernesto DiStefano/Wikimedia Commons, CC BY 2.0)

Norman Jewison, who passed away Jan. 20 at age 97, had a cottage in Ontario, and was a cottage neighbour of supporters of the Windsor International Film Festival (WIFF), where I am executive director and chief programmer.

Of course, this lead to numerous conversations over a three-year time period about bringing the legend himself down to the festival for a celebration of his talents.

Ultimately, a few prominent friends of WIFF helped make the stars align for the 10th anniversary of WIFF in 2014, and we created the inaugural WIFF Lifetime Achievement Award.

To kick off this new prize with a seven-time Oscar nominee, a Thalberg Memorial Award winner (presented at the Academy Awards to distinguished creative producers) and one of the most influential and successful filmmakers Canada had ever produced — well, the award deliberations weren’t lengthy.

Did you know the seminal race relations drama In the Heat of the Night, the effervescent Jewish musical Fiddler on the Roof, the Italian American rom-com classic Moonstruck and the inspiring boxing drama The Hurricane were all directed by the same man?

What was so impressive about Jewison’s career is that he was a master filmmaker above any single genre or style. He was genre-proof.

Could not be pigeon-holed

I would argue his closest current-day contemporary would be Ang Lee, director of Sense and Sensibility, Brokeback Mountain and Crouching Tiger, Hidden Dragon. Filmmakers this adept at seamlessly pointing their cameras at such a diaspora of stories and esthetics are rare birds.

Jewison’s films, and film-making style, could not be pigeon-holed. It’s what kept his career so interesting for audiences, critics and the industry alike.

In working on what a tribute to Jewison looked like, I delved into his career from numerous vantage points.

Supporting Canadian film

Jewison had five Best Picture Oscar nominations to his credit, including 1968 winner In the Heat of the Night.

But he also had a sincere and trailblazing commitment to the development of filmmakers in Canada via his establishment of the Canadian Film Centre (CFC), a now iconic and sought-after filmmaker residence, education and training fantasy land that has been seminial in incubating established and emerging filmmakers.

Right up to this past Toronto International Film Festival, the Canadian Film Centre’s annual barbecue is a tradition that burns bright. It’s attended by several hundred people, but what’s most noteworthy is that it’s the only TIFF-adjacent bash I can think of that is truly multi-generational.

Student filmmakers, those just launching their careers, mid-career climbers, established filmmakers and long-retired big names all gather on the lawns of the CFC in the same spirit: for the love of and future of film.

Directed his own tribute

When the big night at WIFF came in 2014 and it was time to meet and interview Jewison, he did not disappoint. The historic Capitol Theatre in Windsor was sold out for this one-night-only rare appearance.

Ever the director, he live directed me even during our on-stage interview. I’m not kidding.

He would give me subtle hand signals on where we wanted to continue talking about something, when he wanted to move on to the next topic and what kind of pacing he wanted. Like an invisible hand behind my back, he even directed his own on-stage tribute.

He was engaged, friendly and had so many warm but insightful things to say about both his stars and longtime collaborators.

Gave beautiful credit to collaborators

We were regaled with stories of Sidney Poitier and Rod Steiger, Cher and Nicolas Cage, with a stopover on Michael Caine. He gave beautiful credit to his longtime casting director, the legendary Lynn Stalmaster.

He spoke with love about his wife Lynne St. David-Jewison, who beamed with pride as he was celebrated and accepted his award. Posters of his films were autographed, there were lobby anecdotes and conversations among fans about his musicals and a constant refrain of: “Mr. Jewison, if you wouldn’t mind …”.

We escaped to a private dinner in Windsor’s Little Italy where the regaling (Danny DeVito! Denzel Washington! Marisa Tomei!) continued all night long. It could have been a scene from Moonstruck.

Vincent Georgie, Marketing Faculty, Odette School of Business, University of Windsor

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