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Haskell Wexler

Haskell Wexler
Haskell Wexler (left), with Cole Miller (right)
Born (1922-02-06) February 6, 1922 (age 94)[1]
Chicago, Illinois
Spouse(s) Nancy Ashenhurst (?-?; divorced; 2 children)
Marian Witt (?-?; divorced; 1 child)
Rita Taggart (1989-?)[2]

Haskell Wexler, A.S.C. (born February 6, 1922[1]) is an American cinematographer, film producer, and director. Wexler was judged to be one of film history's ten most influential cinematographers in a survey of the members of the International Cinematographers Guild.[3]

Early life and education

Wexler was born to a Jewish family in Chicago, Illinois, in 1922. His parents were Simon and Lottie Wexler, whose children included Jerrold, Joyce (Isaacs), and Yale. He attended the progressive Francis Parker School, where he was best friends with Barney Rosset.

After a year of college at the University of California, Berkeley and a tour in the United States Merchant Marine during World War II,[4] Wexler decided to become a filmmaker.

Based in Chicago, Wexler made many documentaries, including The Living City, which was nominated for an Academy Award.

Film career

Wexler briefly made industrial films in Chicago, then in 1947 became an assistant cameraman. Wexler worked on documentary features and shorts; low-budget docu-dramas such as 1959's The Savage Eye; television's The Adventures of Ozzie and Harriet; and TV commercials. (He would later found Wexler-Hall, a television commercial production company, with Conrad Hall.) He made ten documentary films with director Saul Landau, including "Paul Jacobs and the Nuclear Gang," which aired on PBS and won an Emmy Award and a George Polk Award. Other notable documentaries shot and co-directed (with Landau) by Wexler included "Brazil: A Report on Torture," "The CIA Case Officer," and "The Sixth Sun: A Mayan Uprising in Chiapas."

In 1963, Wexler served as the cinematographer on his first big-budget film, Elia Kazan's America, America. The film had a stunning look, and Kazan was nominated for a Best Director Academy Award. Wexler worked steadily in Hollywood thereafter. Wexler was cinematographer of Mike Nichols' screen version of Who's Afraid of Virginia Woolf? (1966), for which he won the last Academy Award for Best Cinematography (Black & White).[5] The following year had Wexler as the cinematographer for the Oscar winning detective drama, In the Heat of the Night (1967), starring Sidney Poitier. His work was notable for enabling the first major Hollywood film in color to be lit with proper consideration for a person of African descent. Wexler recognized that standard lighting tended to produce too much glare on that kind of dark complexion and rendered the features indistinct. Accordingly, Wexler toned it down to feature Poitier with better photographic results.[6]

He won a second Oscar for Bound for Glory (1976), a biography of Woody Guthrie (whom Wexler had met during his time in the Merchant Marine). Bound for Glory was the first feature film to make use of the newly invented Steadicam, in a famous sequence that also incorporated a crane shot. Wexler was also credited as additional cinematographer on Days of Heaven (1978), which won a Best Cinematography Oscar for Nestor Almendros. Wexler was also featured on the soundtrack of the film Underground (1976), recorded on Folkways Records in 1976.

He has worked on documentaries throughout his career. The documentary Paul Jacobs and the Nuclear Gang (1980) earned an Emmy Award; Interviews with My Lai Veterans (1970) won an Academy Award. His most recent documentaries include Bus Riders' Union (2000), about the modernization and expansion of bus services in Los Angeles by the organization and its founder Eric Mann,Who Needs Sleep (2006),[7] the Independent Lens documentary, Good Kurds, Bad Kurds: No Friends But the Mountains (2000),[8] Tell Them Who You Are (2004),[9] and Bringing King to China (2011).

Wexler has also directed fictional movies. Medium Cool (1969), a film written by Wexler and shot in the cinéma vérité style, is studied by film students all over the world for its breakthrough form. It influenced more than a generation of filmmakers. The making of Medium Cool was the subject of a BBC documentary, Look Out Haskell, It's Real: The Making of Medium Cool (2001).[10]

Produced by Lucasfilm, Wexler's film Latino (1985) was chosen for the 1985 Cannes Film Festival. He both wrote and directed the work. Another directing project was From Wharf Rats to Lords of the Docks (2007), an intimate exploration of the life and times of Harry Bridges, an extraordinary labor leader and social visionary described as "a hero or the devil incarnate, it all depends on your point of view."[11]

In 1988, Wexler won the Independent Spirit Award for Best Cinematography for the John Sayles film Matewan (1987), for which he was also nominated for an Academy Award. His work with Billy Crystal in the HBO film 61* (2001) was nominated for an Emmy.

Legacy and honors (career awards)

Selected filmography

Frequent collaborators


  1. ^ a b "Haskell Wexler: The Hollywood Interview". Haskell Wexler's personal blog. Retrieved 17 Jan 2014. 
  2. ^
  3. ^ "Top 10 Most Influential Cinematographers Voted on by Camera Guild". PRNewswire. October 16, 2003. Retrieved January 17, 2014. 
  4. ^ "About". Haskell Wexler's personal blog. Retrieved 17 Jan 2014. 
  5. ^ Beginning the next year, the Academy eliminated a separate category for Awards for Black and White and Color in Art Direction, Cinematography, and Costume Design. Source: Clooney, Nick (November 2002). The Movies That Changed Us: Reflections on the Screen. New York: Atria Books, a trademark of Simon & Schuster. p. 79. ISBN 0-7434-1043-2. 
  6. ^ Harris, Mark (2008). Pictures at a Revolution: Five Films and the Birth of a New Hollywood. Penguin Press. p. 221. 
  7. ^ IMDb Retrieved 1 February 2014.  Missing or empty |title= (help)
  8. ^ IMDb Retrieved 1 February 2014.  Missing or empty |title= (help)
  9. ^ IMDb. 2004  Missing or empty |title= (help)
  10. ^ IMDb Retrieved 1 February 2014.  Missing or empty |title= (help)
  11. ^

External links

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