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Nathan Juran
Nathan Juran
Nathan Juran
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Naftuli Hertz "Nathan" Juran (September 1, 1907 – October 23, 2002) was an Austro-Hungarian-born film art director, and later film and television director. As an art director, he won the Oscar for Best Art Direction in 1942 for How Green Was My Valley, along with Richard Day and Thomas Little. His work on The Razor's Edge in 1946 also received an Academy nomination. In the 1950s, he began to direct, and was known for science fiction and fantasy films such as Attack of the 50 Foot Woman. He was the brother of quality guru Joseph M. Juran.

Key Information

Life and career

[edit]

Early life

[edit]

Juran was born to a Jewish family in Gura Humorului, Austro-Hungarian Empire (now Romania).[1]

In 1912, he emigrated to America with his family, settling in Minneapolis. He earned a bachelor's degree in Architecture from the University of Minnesota. He also spent a summer studying at the École des Beaux-Arts before earning a master's degree in Architecture from the Massachusetts Institute of Technology. He passed the architect's exam and set up his own office as an architect.[2]

Art department

[edit]

With the construction industry at a standstill due to the Great Depression, Juran moved to Los Angeles. He sought architecture work at the studios and got a job doing a drawing of the Brooklyn Bridge for RKO Radio Pictures. He managed to get a permanent job as a draftsman in the art department. He was an assistant art director on Quality Street (1937).

Juaran later moved to MGM, where he assisted in designing Juliet's bedroom in Romeo and Juliet (1936). He then joined 20th Century Fox, assisting art department head Richard Day on How Green Was My Valley (1941).[3]

Fox liked his work and put Juran under contract. His early credits as art director included Charley's American Aunt (1941), and Belle Starr (1941), and he and Day won an Oscar for their work on Valley.[4]

Juran also worked on I Wake Up Screaming (1941), A Gentleman at Heart (1942), Ten Gentlemen from West Point (1942), The Loves of Edgar Allan Poe (1942), Dr. Renault's Secret (1942), It's Everybody's War (1942, a short), and That Other Woman (1942).

Juran enlisted in the Navy during the Second World War in July 1942 and was assigned to first the Office of Strategic Services and then to the Royal Air Force Intelligence Center.[5]

After the war, Juran returned to Fox, winning an Oscar nomination for his work on The Razor's Edge (1946).

Juran accepted a seven-year contract to be head of the art department for Enterprise Productions. While there he was credited on The Other Love (1947) and Body and Soul (1947).[6] When Enterprise collapsed, Juran did Kiss the Blood Off My Hands (1948) for Harold Hecht and Tulsa (1948) for Walter Wanger.

Universal

[edit]

Juran then signed a long-term contract with Universal, where he was the art director on Free for All (1949), Undertow (1949), Winchester '73 (1950), Deported (1950), Harvey (1950), Bright Victory (1951), Thunder on the Hill (1951), Reunion in Reno (1951), Cave of Outlaws (1951), The Strange Door (1951), Meet Danny Wilson (1951), Bend of the River (1952) and Untamed Frontier (1952).[3]

Director

[edit]

Juran was assigned as art department head for The Black Castle (1952), when director Joseph Pevney dropped out shortly before filming. Juran was asked to take over as director two weeks prior to filming.[6]

Universal was happy with Juran's work and signed him to a one-year directing contract. He made an Audie Murphy Western Gunsmoke (1952), and a Ronald Reagan Western Law and Order (1953), then did The Golden Blade (1953), an "Eastern" with Rock Hudson and Tumbleweed (1953) with Murphy.

Juran went to Italy in 1954 to direct a swashbuckler, Knights of the Queen (1954), based on The Three Musketeers. He then directed some episodes of a TV series based on the movie.

Juran returned to Hollywood to direct an independent film, Highway Dragnet (1954) based on a story by Roger Corman. After The Big Moment (1954) at Paramount he went back to Universal to do Drums Across the River (1954) with Murphy.[7]

Juran directed episodes of Fury (1954), Crossroads and My Friend Flicka on TV, and The Crooked Web (1955) for Sam Katzman at Columbia.[8]

Science fiction and fantasy

[edit]

Juran's first science fiction film was The Deadly Mantis (1957) at Universal. He followed this with Hellcats of the Navy (1957) starring Ronald Reagan and his wife (who was billed as Nancy Davis). It was his first film for producer Charles H. Schneer. Schneer hired Juran for 20 Million Miles to Earth (1957) with special effects by Ray Harryhausen. This film established Juran in the science fiction and fantasy genres.

Schneer hired him to do another movie with Harryhausen, The 7th Voyage of Sinbad (1957). It was a commercial and critical success. Instead of continuing with A features, he accepted two jobs "for the money", in his own words:[9] The Brain from Planet Arous (1957) then Attack of the 50 Foot Woman (1957). Both became cult classics.[10] He was unhappy with how Arous turned out and arranged for his billing to be "Nathan Hertz".

Juran did a Western for Schneer, Good Day for a Hanging (1958) and, for TV, episodes of Frances Langford Presents, World of Giants, and Men Into Space (1960).

Juran got back into features with a motion picture he wrote himself, Jack the Giant Killer (1962) for producer Edward Small. He then did Flight of the Lost Balloon (1961), which was released first, an adventure heavily influenced by Jules Verne, which he co-wrote and directed. Around this time he provided the stories for, but did not direct, Doctor Blood's Coffin (1961) and Boy Who Caught a Crook (1961) and wrote a draft of Son of Captain Blood.[11]

Juran did some second unit directing on MGM's Mutiny on the Bounty (1962). Schneer hired Juran to direct Siege of the Saxons (1963) and First Men in the Moon (1964) (based on the novel by H. G. Wells with effects by Harryhausen).[12][13] He did an imperial adventure for Schneer, East of Sudan (1964) and directed second unit on Cyrano et d'Artagnan (1964).

Television

[edit]

Juran turned to television in 1959. He directed episodes of A Man Called Shenandoah and Daniel Boone, and episodes of all four of Irwin Allen's 1960s science fiction series Voyage to the Bottom of the Sea, Lost in Space, The Time Tunnel and Land of the Giants.

Last films and return to architecture

[edit]

He did a feature for Schneer, Land Raiders (1970), a Western, before an operation for cancer prompted him to retire in 1970. Juran returned from retirement to direct The Boy Who Cried Werewolf (1973) with his old Sinbad star, Kerwin Mathews. He then returned to his first career, architecture.[14]

In 1999, he was honored with the Lifetime Career Award by the Academy of Science Fiction, Fantasy and Horror Films, USA.

He died at the age of 95 in Palos Verdes, California, US.

Partial filmography

[edit]
As art director
As director

References

[edit]

Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Nathan Juran

View on Grokipedia
from Grokipedia
Nathan Juran (September 1, 1907 – October 23, 2002) was a Romanian-born American and director, best known for his Academy Award-winning contributions to art direction and his later work in science fiction and fantasy cinema. Born Naftuli Hertz Juran in Gura Humorului, , (now ), to a Jewish family, he immigrated to the in 1912 with his parents, settling in . Juran earned a in from the and a master's in from MIT, and spent a summer on at L’École des Beaux-Arts in , practicing as an before entering the industry in 1937 as an at RKO and later 20th Century Fox. In 1941, Juran shared the Academy Award for Best Art Direction (Black-and-White) for How Green Was My Valley, directed by John Ford, and received a nomination for The Razors Edge in 1946. He transitioned to directing in 1952 with The Black Castle and gained prominence in genre films, collaborating with stop-motion animator Ray Harryhausen on 20 Million Miles to Earth (1957), The Seventh Voyage of Sinbad (1958), and First Men in the Moon (1964). Other notable directorial efforts include the cult classic Attack of the 50 Foot Woman (1958, credited as Nathan Hertz) and westerns like Hellcats of the Navy (1957) starring Ronald Reagan. Juran also worked in television and received a Life Career Award from the Academy of Science Fiction, Fantasy and Horror Films for his enduring influence on the genres.

Early Life

Childhood and Family Background

Nathan Juran was born Naftuli Hertz Juran on September 1, 1907, in Gura Humorului, a town in the (now part of ), to a Jewish family. His parents were Jacob Juran and Gethel (née Goldenberg) Juran, and he was one of several siblings in a modest household shaped by the cultural and economic realities of Eastern European Jewish life at the time. In 1912, at the age of five, Juran emigrated with his family to the , fleeing and the threat of antisemitic pogroms in the region. The family settled in , , where they lived in the back of his father's shoe repair shop, reflecting the hardships of immigrant life in early 20th-century America. Jacob Juran worked as a shoemaker to support the family, embodying the entrepreneurial spirit common among Eastern European immigrants adapting to new opportunities. As an immigrant child, Juran faced challenges, including the anglicization of his name from Naftuli Hertz to Nathan, a common practice to navigate American society more easily. He grew up alongside his older brother, , who later became renowned in the field of . These early experiences in a tight-knit immigrant community in instilled resilience and a sense of adaptability that influenced Juran's later creative pursuits.

Education and Initial Career in Architecture

Juran attended the , where he studied and earned a degree in 1929. He also won a summer scholarship to study at the École des Beaux-Arts in , . Following his undergraduate studies, he pursued advanced training at the , obtaining a master's degree in . After completing his education, Juran worked as a designer for an architectural firm in New York during the early years of the , when construction projects were severely curtailed by economic constraints. Opportunities in the field remained scarce, prompting him to relocate to in search of better prospects in architecture. The persistent economic hardships of the Depression, which stalled much of the building industry, ultimately led Juran to pivot toward the film sector in , where his architectural expertise could be adapted to set design. This background profoundly shaped his approach to visual in cinema, fostering an emphasis on practical, compositionally balanced structures that enhanced narrative depth in his later art direction work.

Art Direction Career

Entry into Film Industry

Juran's architectural expertise facilitated his transition into the in , when RKO Studios hired him as a sketch artist in the art department to create detailed miniature drawings, such as a model of the . Shortly thereafter, he moved to 20th Century Fox, starting as a draftsman and rapidly advancing to assistant under the guidance of the department's head, Richard Day, whose mentorship honed Juran's skills in production design. At , Juran applied his training to , contributing uncredited designs in the early that emphasized historical and period accuracy for dramatic films, drawing on his ability to translate architectural concepts into cinematic environments. His work in the bustling art department allowed him to network with established filmmakers and designers, fostering relationships that expanded his responsibilities and integrated him into Hollywood's collaborative ecosystem. Juran's rising trajectory was halted by , as he enlisted in the U.S. Navy in 1942 and served until 1945 with the Office of Strategic Services (OSS), performing photographic duties that included intelligence and documentation work in alongside the Royal Air Force. This service interrupted his Hollywood career but provided practical experience in visual storytelling under pressure.

Key Projects and Academy Awards

Nathan Juran's most celebrated contribution as an came with the 1941 film , directed by John Ford, where he collaborated with supervising art director Richard Day and Thomas Little to create the film's evocative Welsh mining village sets. The production featured an expansive 80-acre practical village built at Brent's Crags in the , capturing the rugged, community-centered architecture of early 20th-century with meticulous detail drawn from Juran's architectural background. This work earned Juran, Day, and Little the for Best Art Direction–Interior Decoration, Black-and-White at the in 1942, recognizing the sets' role in immersing audiences in the story of a declining coal-mining family. Building on this success, Juran received an Academy Award nomination in the same category for (1946), again partnering with Day, Little, and set decorator Paul S. Fox. The film's art direction was lauded for its ambitious recreation of diverse, exotic locales—from the opulent salons to the spiritual retreats of —reflecting the protagonist's introspective journey through global settings, with over 80 sets constructed to evoke both grandeur and isolation. This nomination at the in 1947 highlighted Juran's skill in blending period authenticity with narrative depth, contributing to the film's overall prestige as a Best Picture nominee. Among Juran's other notable projects at 20th Century Fox during this period were A Gentleman at Heart (1942), a lighthearted drama requiring period-appropriate urban interiors that emphasized everyday American life in the early 20th century, and The Other Love (1947), which featured elegant European sanatorium sets underscoring themes of recovery and romance with historical precision. These works showcased Juran's commitment to authenticity, often prioritizing detailed research into architectural styles to ground stories in believable environments. His techniques frequently involved a mix of practical builds for key interiors and exteriors, informed by his pre-Hollywood architecture career, alongside matte paintings to extend landscapes and vistas, all while navigating wartime production limitations such as government-imposed set budgets capped at $5,000 per film and material shortages. The Academy Award for significantly elevated Juran's standing within the studio, securing him higher-profile assignments like and paving the way for further collaborations on prestige pictures before his eventual shift toward directing. This recognition affirmed his ability to deliver impactful visual storytelling under resource constraints, influencing his later career in film design and beyond.

Transition to Directing

Move to Universal Studios

After working as an at 20th Century Fox from around 1941, where he contributed to notable productions and shared an Academy Award for in 1941, Nathan Juran left the studio after (1946) amid the evolving Hollywood landscape of the postwar era, including the rise of television and shifting production demands. By the late 1940s, he had transitioned to Universal-International, working on Anthony Mann's (1950) as an . Juran's move to directing was driven by a pursuit of greater creative challenges beyond set design, viewing as both a and an opportunity for expanded artistic involvement. Influenced by collaborators like , Juran sought the autonomy of helming projects rather than supporting them visually. In 1952, at age 45, he made his directorial debut with a Universal-International assignment, , leading to a one-year contract as a director, which effectively functioned as a multi-picture deal to develop his skills. The contract positioned Juran to start with B-movies, allowing him to build a directing portfolio while leveraging his production expertise in a studio environment focused on efficient, genre-driven output. This mid-career pivot occurred as Juran balanced family responsibilities in , where he had established his home after immigrating as a child and pursuing before entering .

Early Directorial Works

Nathan Juran's directorial debut came with The Black Castle (1952), a gothic horror film produced by Universal-International and starring Boris Karloff and Lon Chaney Jr. as scheming noblemen in medieval Austria. The low-budget production emphasized atmospheric sets and suspenseful intrigue, drawing on Juran's art direction background for visual depth despite limited resources. Critically, it was seen as a competent B-movie chiller, praised for its moody cinematography but noted for formulaic plotting. Box office performance was modest, typical for the genre. Juran's early work continued with a series of Universal westerns in 1953, including Gunsmoke and Law and Order starring Audie Murphy, Tumbleweed with James Garner, and The Golden Blade, an adventure film. These low-budget entries featured action-oriented narratives, with Tumbleweed focusing on a wrongly accused drifter seeking revenge amid Apache conflicts. Production relied on studio sets and location shooting in California deserts for authenticity. In 1954, he directed Drums Across the River, another Audie Murphy western involving gold rush tensions and Native American alliances. In these initial efforts, Juran's directorial style began to evolve, drawing from his art direction background to incorporate dynamic camera movements that enhanced action sequences and spatial composition, though often tempered by studio constraints on budget and creative control. Reviews noted the films' visual flair in location work and fight choreography but critiqued occasional pacing issues, with the 1953 westerns viewed as solid B-western entertainment. Overall reception remained modest, with the pictures achieving limited success amid competition from larger studio productions.

Feature Film Directing

Westerns and Adventure Films

Juran's entry into directing at Universal Studios marked a shift from art direction to helming genre films, where his background informed the use of expansive outdoor sets and compositional depth in Westerns and adventures. His debut feature, (1952), blended adventure with gothic elements, following an English knight investigating disappearances at an Austrian count's fortress, starring and . This film highlighted Juran's ability to craft atmospheric visuals on limited budgets, drawing from his prior Oscar-winning work on sets for John Ford's (1941). In 1953, Juran directed multiple Westerns emphasizing and heroism, including Law and Order, where portrays a taming a violent town, and Gunsmoke, featuring as a hired gunslinger who defends a rancher against a ruthless landowner, exploring themes of redemption and moral conflict. He followed with the adventure The Golden Blade, a starring as a wielding a magical in ancient , which incorporated dynamic action sequences and ensemble intrigue. These productions utilized ensemble casts to explore ethical dilemmas, with Juran's art direction experience evident in the sweeping landscapes that underscored themes of isolation and resolve. Juran's collaboration with Audie Murphy continued in Tumbleweed (1953), where the star clears his name after an raid, and Drums Across the River (1954), depicting settler greed sparking conflict with Native Americans. Echoing influences from Ford's epic framing—honed during Juran's art direction on Westerns like (1952)—these films employed outdoor motifs to heighten dramatic tension. Later, (1959) revisited frontier morality through a former lawman's execution dilemma, starring . These mid-tier Universal releases, often low-budget B-pictures, achieved solid commercial performance by delivering reliable entertainment, bolstering Juran's standing as a genre specialist before his pivot to science fiction.

Science Fiction and Fantasy Films

Nathan Juran's entry into science fiction and fantasy filmmaking marked a significant phase of his career, beginning with the 1957 film The Deadly Mantis at Universal, featuring a prehistoric praying mantis awakened by a nuclear test and rampaging across the Arctic and New York. That same year, he directed The Brain from Planet Arous (credited as Nathan Hertz), about an alien brain possessing a scientist to conquer Earth, followed by 20 Million Miles to Earth, which featured groundbreaking stop-motion animation by Ray Harryhausen depicting a Venusian creature known as the Ymir that rapidly grows and rampages through Italy. This collaboration introduced Harry's Dynamation technique, integrating animated models with live actors to create dynamic creature interactions, such as the Ymir's battles with a dog and an elephant in the Roman Coliseum. The film's black-and-white visuals emphasized the creature's expressive design, establishing Juran's ability to blend practical effects with narrative tension in a non-American setting, a rarity for 1950s sci-fi. Juran continued this innovative approach in (1958), his first , where Harryhausen's effects brought mythical beasts like a cyclops and a sword-wielding to life in vivid sequences of swashbuckling adventure. The film's acclaimed stop-motion work, including a three-month sequence for the skeleton duel, showcased Harry's refined Dynamation process adapted for , enhancing the spectacle of swordplay and monstrous encounters. Later, Juran directed the low-budget Attack of the 50 Foot Woman (1958), exploring a premise where a woman grows to enormous size after an alien encounter, with later retrospectives noting its feminist undertones through themes of and societal repression. In 1964, Juran adapted H.G. Wells's novel The First Men in the Moon, employing Harryhausen's lunar effects to depict insect-like Selenites and bizarre moon landscapes via stop-motion animation. Throughout these projects, Juran's techniques emphasized collaboration with Harryhausen, shifting to color and formats to amplify visual spectacle while maintaining tight pacing for effects-driven . These films garnered a lasting for their imaginative creatures and innovative effects, culminating in Juran receiving the Lifetime Career Award from the of Science Fiction, Fantasy and Horror Films in 1999.

Television Directing

Major Series Contributions

Juran's television directing career flourished amid the post-war television boom of the and , a period when networks rapidly expanded programming to meet surging demand, often requiring directors to handle fast-paced production schedules that drew on their expertise for efficient . His background in art direction and film helped him navigate the episodic format, contributing to over 50 television episodes in total. Juran directed episodes across various genres, including westerns and science fiction. He helmed five episodes of Daniel Boone in the late 1960s, including "The Traitor" (1969) and "A Very Small Rifle" (1969). In science fiction, he contributed to Irwin Allen's productions, directing the pilot and four additional episodes of Land of the Giants (1968–1970), involving miniaturized castaways in a giant world, where his experience with fantastical film effects from earlier projects informed the visual spectacle. He also directed five episodes of Lost in Space (1965–1968), such as "The Prisoners" (1967) and "The Girl from the Stars" (1967); four episodes of The Time Tunnel (1966–1967); three episodes of Voyage to the Bottom of the Sea (1964–1968); four episodes of Men into Space (1959–1960); and four episodes of World of Giants (1959). Earlier, in the 1950s, he directed episodes of series like My Friend Flicka, Fury, and Crossroads.

Style and Notable Episodes

Nathan Juran's approach to television directing emphasized visual economy and tight editing, hallmarks influenced by his earlier career as an Academy Award-winning art director. Drawing on his architectural and design background, Juran crafted compositions that maximized impact within the constraints of episodic formats, often employing strategic use of shadows to heighten tension and underscore dramatic moments without relying on elaborate sets or effects. This economical style allowed him to maintain narrative momentum in fast-paced stories, adapting techniques from his feature film work to the smaller screen's demands for efficiency. His work on series demonstrated his ability to handle on television budgets. In the episode "Ghost Town" (1968), he integrated miniature sets and practical effects to evoke a sense of scale and peril, echoing the fantastical elements from his feature films like The Seventh Voyage of Sinbad. Similarly, his direction of "Deadly Pawn" (1969) utilized and shadow manipulation to heighten the giants' looming threats, blending adventure with claustrophobic tension in confined environments. Adapting to television's rigorous production schedule presented significant challenges for Juran, including one-week shoots that demanded precise planning and rapid decision-making to meet broadcast deadlines. Union rules further complicated transitions from film to TV, restricting crew flexibility and requiring Juran to navigate strict guidelines on hours, props, and , which tested his resourcefulness in delivering polished results under pressure. Juran's television tenure also extended his influence beyond directing, as he mentored emerging talent and shaped the work of younger filmmakers. Directors like cited Juran's efficient, visually astute style as inspirational. His credits in 1970s series, such as multiple episodes of , continued to exemplify this mentorship through collaborative sets where he guided assistant directors on practical techniques for action and effects.

Later Career and Legacy

Final Feature Films

Juran's final feature films, produced in the late and early , reflected a marked decline in his directorial output compared to his prolific era, shifting from high-fantasy spectacles to lower-budget thrillers and family-oriented adventures. This period saw only a handful of projects, often made abroad or for television distribution, amid broader industry changes and personal factors that hinted at waning enthusiasm for large-scale . Although released in 1962, Jack the Giant Killer stands as a bridge to Juran's later works, extending his signature fantasy style with stop-motion effects supervised by Project Unlimited rather than his frequent collaborator . Starring as the titular hero and as the princess, the film depicts a young farmer's quest to defeat a sorcerer, giants, and demonic creatures in medieval , emphasizing adventure and visual spectacle shot partly in . Critics offered mixed assessments, with a 78% Tomatometer score on from nine reviews lauding its adventure elements while faulting "jerky demonic creatures" and clumsy execution. Audience reception was more tempered at 61%, though the film retains cult appeal for its playful fairy-tale elements and effects-driven action. By 1968, Juran ventured into thriller territory with The Name of the Game Is Kill, a low-budget production filmed in featuring as a husband uncovering macabre family secrets during a visit to his in-laws, portrayed by , , and Barry Sullivan. The story blends psychological suspense with subtle horror motifs, such as isolation and implied violence, aligning with Juran's European shooting phase but on a constrained scale that limited elaborate sets or action sequences. Reception was modest, earning a 5.8/10 on from over 250 users who found it "entertaining" for its character dynamics and twists, though pacing issues drew criticism for formulaic plotting. Its cult status stems from the strong ensemble and atmospheric tension, despite production economies that echoed broader B-movie challenges of the era. In 1970, Juran directed The Boy Who Stole the Elephant, a family adventure framed as a TV movie hybrid, starring as a circus promoter and young Cindy Eilbacher as an orphan boy who bonds with a loaned elephant named Queenie and embarks on a cross-country trek to reunite her with her original owner. Set in the 19th-century American West, the narrative highlights themes of and , with Western undertones in its road journey and frontier setting, supported by a cast including and . It garnered a 6.4/10 on from limited ratings, praised as a heartwarming tale suitable for younger audiences, though some noted its predictable structure. Like its predecessors, the film faced production constraints typical of television-bound projects. Juran briefly returned from semiretirement in 1973 for his final feature, the The Boy Who Cried Werewolf, starring (reuniting with his Seventh Voyage of Sinbad collaborator) as a father who becomes a after an attack, forcing his son to convince authorities of the threat. The low-budget production blends family drama with elements, receiving mixed reviews with a 5.1/10 on from nearly 900 ratings and a 20% Tomatometer score on from four reviews, appreciated for its premise but criticized for uneven pacing and effects. Overall, these late efforts received mixed reviews, with cult followings for their quirky genres but fatigue from critics over repetitive tropes, underscoring Juran's transition from innovative effects-driven stories to more modest, character-focused narratives.

Return to Architecture and Retirement

After completing his final film in 1973, Juran retired from the film industry and relocated to , where he spent his later years. He returned to his original profession of , leveraging his early training and experience to pursue work in the ensuing decade. In his , Juran married JD Erna Catherine Van Ortwick Wilson on September 9, 1994; the couple remained together until his death. He was also the father of one son, Warren Juran. Juran received posthumous recognition for his contributions to cinema, including the 1999 Life Career Award from the Academy of , Fantasy & Horror Films. Additionally, in 2000, he participated in an archival Visual History Interview conducted by the , providing insights into his career as an and director. Juran died of natural causes on October 23, 2002, at his home in Palos Verdes Estates, at the age of 95.

Filmography

Art Direction

  • How Green Was My Valley (1941)
  • (1946)
  • Harvey (1950)

Feature Films (Director)

Note: This is a selected list of feature film credits; for a complete filmography including television work, see IMDb.

References

  1. https://www.theguardian.com/news/2002/nov/11/guardianobituaries.filmnews
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  4. https://www.latimes.com/archives/la-xpm-2002-nov-01-me-juran1-story.html
  5. https://www.dga.org/Craft/VisualHistory/Interviews/Nathan-Juran
  6. https://www.nae.edu/187336/JOSEPH-M-JURAN-19042008
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  59. https://www.imdb.com/title/tt0058001/
  60. https://www.imdb.com/title/tt0058084/
  61. https://www.imdb.com/title/tt0065962/
  62. https://www.imdb.com/title/tt0068300/
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