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Stuart Heisler (December 5, 1896 – August 21, 1979) was an American film and television director.[1] He was a son of Luther Albert Heisler (1855–1916), a carpenter, and Frances Baldwin Heisler (1857–1935). He worked as a motion picture editor from 1921 to 1936, then worked as a film director for the rest of his career.

Key Information

Heisler directed the 1944 propaganda film The Negro Soldier, a documentary-style recruitment piece aimed at getting African-Americans to enlist in the U.S. military during World War II.[2] He found commercial and critical success in the late forties directing Susan Hayward in two of her breakthrough performances.

He received an Oscar nomination in 1949 for his contribution to the visual effects of the film Tulsa.

Partial filmography

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As editor

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As director

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See also

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References

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Stuart Heisler

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Stuart Heisler (October 5, 1896 – August 21, 1979) was an American film director known for his prolific career in Hollywood, directing more than 20 feature films across genres including film noir, melodrama, westerns, and musicals, as well as numerous television episodes in the later part of his career. [1] Heisler began his career in the motion picture industry in 1913 as a prop man, advancing to film editor in the 1920s and making his directorial debut with a Paramount feature in 1936. [2] [1] He served as associate director on John Ford's The Hurricane (1937) before directing a range of films, including The Glass Key (1942), Along Came Jones (1945), Blue Skies (1946), Tokyo Joe (1949), Storm Warning (1951), I Died a Thousand Times (1955), and The Burning Hills (1956). [1] [2] During World War II, he served as a captain and directed the documentary The Negro Soldier (1944). [1] [2] His work often featured strong performances, guiding Susan Hayward to a Best Actress Oscar nomination in Smash-Up: The Story of a Woman (1947) and Bette Davis in The Star (1952). [3] In the late 1950s and 1960s, Heisler transitioned to television, directing episodes of series such as The Lawman, Rawhide, 77 Sunset Strip, Gunsmoke, and The Virginian. [1] He was regarded by some French critics and New Wave filmmakers as an underappreciated talent whose clear vision and mastery of mise-en-scène elevated even modest material. [2]

Early life

Birth and family background

Stuart Heisler was born Stuart Raymond Heisler on December 5, 1896, in Los Angeles, Los Angeles County, California. [4] [5] He was the son of Luther Albert Heisler (1855–1916) and Frances Baldwin Heisler (1857–1935). [4] No further details on siblings or other immediate family members are documented in available records.

Entry into the film industry

Early roles as prop man

Stuart Heisler began his film career in 1913 as a prop man at the Famous Players Film Company in Hollywood. [6] [7] The following year, in 1914, he joined Mack Sennett's Keystone Film Company, continuing in prop roles during the height of the studio's slapstick comedy era. [8] [9] No specific film credits or individual contributions from his time as a prop man are documented in major sources, reflecting the entry-level nature of the position in early Hollywood production. [2] Heisler later moved into film editing in 1921, marking the next phase of his career progression. [7]

Film editing career (1921–1936)

Stuart Heisler pursued a career as a film editor from 1921 to 1936, a period that encompassed the industry's shift from silent films to sound production. [3] During these years, he worked primarily for Samuel Goldwyn at United Artists from 1924–1925 and 1929–1934, before moving to Paramount from 1935–1936. [3] His editing contributions supported a diverse range of genres, including drama, comedy, and musicals, often featuring prominent stars of the era. Heisler's earliest known editing credit came in 1921 with the silent Mary Pickford vehicle The Love Light. [3] He continued in the silent era with the acclaimed drama Stella Dallas in 1925. [3] The arrival of sound brought new opportunities, and he edited Raffles in 1930, starring Ronald Colman. [3] In the early 1930s, Heisler frequently collaborated on Samuel Goldwyn productions, including the Eddie Cantor comedies The Kid from Spain in 1932 and Roman Scandals in 1933, as well as the romantic drama Peter Ibbetson in 1935 starring Gary Cooper. [3] Toward the end of his editing tenure at Paramount, he worked on Mae West vehicles Klondike Annie and Poppy, both released in 1936, along with the ensemble musical The Big Broadcast of 1937, also released in 1936. [3] These projects demonstrated his versatility across comedic and star-driven pictures in the maturing sound era. Heisler concluded his editing career in 1936 as he transitioned to directing. [3]

Directing career in feature films

Debut and early directing work (1936–1945)

Stuart Heisler transitioned to directing with his debut feature, Straight from the Shoulder, released in 1936. This marked his shift from film editing to helming projects at Paramount Pictures, where he had previously worked in various capacities. In 1937, Heisler served as second unit director on John Ford's The Hurricane, contributing to the film's production before returning to solo directing assignments. He directed The Biscuit Eater in 1940, a family-oriented drama about a boy and his dog. The following year, he handled two films: the horror-thriller The Monster and the Girl and the crime drama Among the Living. Heisler's output in 1942 included the film noir adaptation The Glass Key, starring Brian Donlevy, Veronica Lake, and Alan Ladd, and the fantasy comedy The Remarkable Andrew, featuring William Holden. During World War II, Heisler directed the 1944 U.S. Army propaganda documentary The Negro Soldier, designed to promote African-American enlistment and highlight contributions of Black Americans to military history. His last film in this period was Along Came Jones in 1945, a comedic Western starring Gary Cooper and Loretta Young. These early directing efforts established Heisler within the studio system across genres ranging from drama and noir to propaganda and comedy.

Peak years and major collaborations (1946–1956)

Heisler's postwar years from 1946 to 1956 represented the most prolific and notable phase of his directing career, featuring collaborations with major stars across genres including musicals, dramas, westerns, and film noir, often yielding Academy Award attention for performers or technical achievements. [7] Following World War II service, he assumed direction of the Irving Berlin musical Blue Skies (1946) after original director Mark Sandrich died of a heart attack during pre-production, guiding a cast headed by Bing Crosby and Fred Astaire through a production highlighted by the elaborate “Puttin’ on the Ritz” number. [7] He next helmed the drama Smash-Up, the Story of a Woman (1947), guiding Susan Hayward to her first Academy Award nomination for Best Actress in a story of alcoholism and personal decline. [7] Heisler reunited with Hayward on Tulsa (1949), a Technicolor western in which she portrayed a determined oil prospector, and the film received an Academy Award nomination for Best Special Effects. [10] [7] He directed Humphrey Bogart in back-to-back post-war dramas, Tokyo Joe (1949) and Chain Lightning (1950), both centering on wartime aftermath and intrigue. [7] The film noir Storm Warning (1951) stood out for its unflinching anti-Ku Klux Klan narrative, starring Ginger Rogers, Ronald Reagan, and Doris Day. [7] Other films during this peak included Journey into Light (1951), Saturday Island (1952), The Star (1952)—in which he directed Bette Davis to an Academy Award nomination for Best Actress in a role depicting a faded Hollywood star's struggles—and Beachhead (1954), This Is My Love (1954), I Died a Thousand Times (1955, a remake of High Sierra), The Lone Ranger (1956), and The Burning Hills (1956), the last two achieving box-office success in western and adventure modes. [7]

Later feature films (1950s–1962)

In the 1950s and early 1960s, Stuart Heisler's feature directing output became sporadic as he increasingly turned to television work starting around 1956. His only feature film credit during this later period was the 1962 drama Hitler, which depicted the life of Adolf Hitler from his early years through World War II. [3] The film starred Richard Basehart in the title role and was a low-budget independent production released by Allied Artists. Hitler marked Heisler's final work as a feature film director, after which he retired from theatrical filmmaking. [11]

Television directing career

Episodes for major series (late 1950s–1960s)

In the late 1950s, Stuart Heisler began directing episodes for television series, marking his entry into the medium as he scaled back feature film work. [7] [1] He contributed to several prominent Western and detective programs during this period, including 77 Sunset Strip, Rawhide, Lawman, Gunsmoke, The Virginian, and The Dakotas. [7] [1] [3] His television directing focused on these major series, which aired on networks like ABC and CBS, reflecting the era's popular genres of crime-solving and frontier drama. [1] He continued directing for television throughout the 1960s. [7] [1] His TV work began as feature film directing declined in frequency, though he directed additional films into the early 1960s, including his last theatrical film Hitler (1962). [7]

Personal life and retirement

Later years and death

After concluding his television directing career in 1963, Stuart Heisler retired from the film industry and spent his final years on an avocado farm near Carlsbad, California.[5][12] He died on August 21, 1979, in Oceanside, San Diego County, California, at the age of 82.[5][1][7] He was cremated, and his ashes were scattered off the coast of Southern California following services at Eternal Hills Memorial Park in Oceanside.[5][12]
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