Contents 1 Early years 2 Film career 2.1 Move to Hollywood 2.2 Producer 2.2.1 Films with Columbia Pictures 2.3 Director 2.3.1 The Pride and the Passion (1957) 2.3.2 The Defiant Ones (1958) 2.3.3 On the Beach (1959) 2.3.4 Inherit the Wind (1960) 2.3.5 Judgment at Nuremberg (1961) 2.3.6 It's a Mad, Mad, Mad, Mad World (1963) 2.3.7 Ship of Fools (1965) 2.3.8 Guess Who's Coming to Dinner (1967) 3 Retirement and death 4 Legacy 4.1 The Stanley Kramer Award 5 Filmography 5.1 As producer and director 5.2 As producer only 6 Academy Award Nominations 7 References 8 External links


Early years[edit] Stanley Kramer was born in Manhattan, New York, in a neighborhood known as Hell's Kitchen due to its reputation as a tough, gang-ridden area. His parents were Jewish, and having separated when he was very young, he remembered little about his father.[7]:102 His mother worked at a New York office of Paramount Pictures, during which time his grandparents took care of him at home.[8]:23 His uncle, Earl Kramer, worked in distribution at Universal Pictures. Kramer attended DeWitt Clinton High School in The Bronx, where he graduated at age fifteen. He then enrolled in New York University where he became a member of the Pi Lambda Phi fraternity[9] and wrote a weekly column for the Medley newspaper. He graduated in 1933 at the age of nineteen with a degree in business administration. After developing a "zest for writing" with the newspaper, notes biographer Donald Spoto, he was offered a paid internship in the writing department of 20th Century Fox and moved to Hollywood.[8]:23 Until receiving that writing job, he had planned to enroll in law school.[10]


Film career[edit] Move to Hollywood[edit] Over the following years, during the period of the Great Depression, Kramer took odd jobs in the film industry: He worked as a set furniture mover and film cutter at MGM, as writer and researcher for Columbia Pictures and Republic Pictures, and associate producer with Loew-Lewin productions. Those years as an apprentice writer and editor helped him acquire an "exceptional aptitude" in editing and develop the ability to understand the overall structure of the films he worked on. They enabled him to later compose and edit "in camera," as he shot scenes.[11] He was drafted into the Army in 1943, during World War II, where he helped make training films with the Signal Corps in New York, along with other Hollywood filmmakers including Frank Capra and Anatole Litvak.[10] He left the army with the rank of first lieutenant.[12] After the war, Kramer soon discovered that there were no available jobs in Hollywood in 1947, so he created an independent production company, Screen Plays Inc. He partnered with writer Herbie Baker, publicist George Glass and producer Carl Foreman, an army friend from the film unit. Foreman justified the production company by noting that the big studios had become "dinosaurs," which, being shocked by the onrush of television, "jettisoned virtually everything to survive." But they failed to develop cadres of younger creative talent in their wake.[5] Producer[edit] Kramer's new company was able to take advantage of unused production facilities by renting time, allowing him to create independent films for a fraction of the cost the larger studios had required, and he did so without studio control. Kramer also saw this as an opportunity to produce films dealing with subjects the studios previously avoided, especially those about controversial topics. However, Kramer soon learned that financing such independent films was a major obstacle, as he was forced to approach banks or else take on private investors. He did both when necessary.[5] But with studios no longer involved, rival independent companies were created which all competed for those limited funds. According to Byman, "there were no fewer than ninety-six" other companies in competition during that period, and included some of Hollywood's biggest names: Frank Capra, John Ford, William Wyler, Howard Hawks, Leo McCarey, and George Stevens.[5] Kramer explains how he tried to differentiate his new company from the others, noting that he was less interested in the money than having the ability to make a statement through his films: Instead of relying on star names, we pinned our faith in stories that had something to say. If it happened to be something that other movies hadn't said before, so much the better. The only basis of choice was personal taste.[5] The first movie produced under his production company was the comedy, So This Is New York (1948), directed by Richard Fleischer, and based on Ring Lardner's The Big Town. It failed at the box office. It was followed with Champion (1949), another Lardner story, this one about an ambitious and unscrupulous boxer. Scripted by Foreman, it was tailored to fit the talents of Kirk Douglas, an ex-wrestler who had recently become an actor. Filmed in only twenty-three days with a relatively small budget, it became an immense box-office success. It won an Academy Award for Best Editing, with four other nominations, including Douglas for best actor and Foreman as screenwriter. Kramer next produced Home of the Brave (also 1949), again directed by Mark Robson, which became an even bigger success than Champion. The story was adapted from a play by Arthur Laurents, originally about anti-Semitism in the army, but revised and made into a film about the persecution of a black soldier. Byman notes that it was the "first sound film about antiblack racism."[5] The subject matter was so sensitive at the time, that Kramer shot the film in "total secrecy" to avoid protests by various organizations.[5] Critics generally liked the film, which, notes Nora Sayre, "had a flavoring of courage."[5] His renamed Stanley Kramer Company produced The Men (1950), which featured Marlon Brando's screen debut, in a drama about paraplegic war veterans. It was the first time Kramer and Foreman worked with director Fred Zinnemann, who had already been directing for twenty years and had won an Oscar. The film was another success for Kramer, who took on a unique subject dealing with a world few knew about. Critic Bosley Crowther noted that its "striking and authentic documentary quality has been imported to the whole film in every detail, attitude and word."[5] Zinnemann said he was impressed with Kramer's company and the efficiency of their productions: They struck me as being enormously efficient. Kramer was very inventive in finding quite unlikely sources of finance . . . This method of outside financing . . . was truly original and far ahead of its time. . . There were no luxurious offices, no major-studio bureaucracy, no small internal empires to be dealt with, no waste of time or effort. . . I was enthusiastic about this independent setup and the energy it created.[5] Also released in 1950 was Kramer's production of Cyrano de Bergerac, the first English language film version of Edmond Rostand's 1897 French play. It made a star of José Ferrer, who won his only Oscar for Best Actor. Films with Columbia Pictures[edit] In 1951, Columbia Pictures president Harry Cohn offered Kramer's company an opportunity to form a production unit working with his studio.[13] Kramer was given free rein over what films he chose to make, along with a budget of nearly a million dollars each. Kramer agreed to a five-year contract during which time he would produce twenty films.[7]:116[12] However, Kramer would later state that the agreement was "one of the most dangerous and foolhardy moves of my entire career."[12] He agreed to the commitment because of his "deep-seated desire to direct," he states, along with the security of ready studio financing.[12] He finished his last independent production, High Noon (1952), a Western drama directed by Fred Zinnemann. The movie was well received, winning four Oscars, as well as three other nominations. Unfortunately, High Noon's production and release intersected with the Red Scare. Writer, producer and partner Carl Foreman was called before the House Un-American Activities Committee while he was writing the film. Foreman had been a member of the Communist Party ten years earlier, but declined to "name names" and was branded an "un-cooperative witness" by HUAC, and then blacklisted by the Hollywood companies, after which he sold his interest in the company.[5] Kramer continued producing movies at Columbia, including Death of a Salesman (1951), The Sniper (1952), The Member of the Wedding (1952), The Juggler (1953), The Wild One (1953) and The 5,000 Fingers of Dr. T (1953). With a larger budget, his films took on a "glossier" more polished look, yet his next ten films all lost money, although some were nonetheless highly praised. In 1953 Cohn and Kramer agreed to terminate the five-year, 20-film contract Kramer had signed. However, his last Columbia film, The Caine Mutiny (1954), regained all of the losses Columbia had incurred as a result of his earlier projects. The Caine Mutiny, was an adaptation of the book written by Herman Wouk and was directed by Edward Dmytryk. Kramer noted that during the 1940s and 1950s, "cinema was the producer's medium:" It was the day of Selznick and Thalberg and Goldwyn. They were the powers incarnate because the producer was boss.[14]:583 Director[edit] Stanley Kramer receives an Award at the 1960 Berlin Film Festival for Inherit the Wind After The Caine Mutiny, Kramer left Columbia and resumed his independent productions, this time in the role of the director. Over the next two decades, Kramer reestablished his reputation within the film industry by directing a continual series of often successful films dealing with social and controversial issues, such as racism, nuclear war, greed and the causes and effects of fascism. Critic Charles Champlin would later describe Kramer as "a guy who fought some hard battles. He took on social issues when it was not popular to do so in Hollywood."[12] Among some of those controversial films were Not as a Stranger (1955), The Pride and the Passion (1957), The Defiant Ones (1958), On the Beach (1959), Inherit the Wind (1960), Judgment at Nuremberg (1961), and Guess Who's Coming to Dinner (1967). Besides dramas, he also directed It's a Mad, Mad, Mad, Mad World (1963) with an all-star cast of famous comedians. His films often generated interest and other times failed, such as Bless the Beasts and Children (1971), Oklahoma Crude (1973), The Domino Principle (1977), and The Runner Stumbles (1979). His first film as director was Not as a Stranger (1955), the story of medical students and their career, some of whom lose their idealism and succumb to blind ambition, adultery, and immoral behavior. The film was a "smash hit," although reviews were mixed. Pauline Kael claimed it "lacked rhythm and development."[11] The Pride and the Passion (1957)[edit] The Pride and the Passion (1957) is an adaptation from The Gun, a novel by C. S. Forester. It portrays in detail how a dedicated group of Spanish guerrillas dragged a gigantic cannon across half the country in an effort to defeat Napoleon's advancing army. It stars Frank Sinatra, Cary Grant and Sophia Loren. The Defiant Ones (1958)[edit] The following year, Kramer directed The Defiant Ones (1958), the story of two escaped convicts in the Deep South, one black, played by Sidney Poitier, and one white, Tony Curtis. To add to the intensity of the drama, both men are shackled together with chains, forcing them, despite their wishes, into a sense of brotherhood, suffering and fear. New York Times film critic Bosley Crowther lauded the production and the acting in the film, calling it "a remarkably apt and dramatic visualization of a social idea—the idea of men of different races brought together to face misfortune in a bond of brotherhood — is achieved by producer Stanley Kramer in his new film."[15] It was nominated for eight Academy Awards, winning two. Five years after the film was released, producer George Stevens, Jr. helped organize a showing of this, along with other Kramer films, at the Moscow Film Festival, which Kramer and co-star Sidney Poitier attended. Stevens writes that the showings of his films, especially The Defiant Ones, were a "great success in Moscow." He remembers that "filmmakers applauded his films, often chanting Kraaaamer, Kraaaaamer, Kraaaaamer," at their conclusion. Kramer spoke to the audience after each film, "making a fine impression for his country."[14] Stevens credits The Defiant Ones for having the most impact, however: The screening was one of the most emotional I have experienced. After the film, the crowd stood—many with tears in their eyes—and gave Poitier and Kramer an ovation that subsided only when we had left the auditorium. Stanley's visit to Moscow marked the high point in the cultural exchange between the two countries during those long years of estrangement.[14] On the Beach (1959)[edit] With his next film, On the Beach (1959), Kramer tried to tackle the sensitive subject of nuclear war. The film takes place after World War III has annihilated most of the Northern hemisphere, with radioactive dust on a trajectory towards Australia. Kramer gave the film an "effective and eerie" documentary look at depopulated cities.[11] It starred Gregory Peck, Ava Gardner, Fred Astaire and Anthony Perkins. Reviews were mostly positive, not just from critics but from scientists. Linus Pauling, winner of two Nobel Prizes (Chemistry and Peace), commented: It may be that some years from now we can look back and say that On the Beach is the movie that saved the world."[11] Critics Arthur Knight and Hollis Alpert likewise praised the film and admired Kramer for showing "courage in attempting such a theme."[11] Inherit the Wind (1960)[edit] Inherit the Wind (1960) became Kramer's next challenging film, this one taking on the highly charged subjects of creationism and evolution, and how they are taught in school. The film, an adaptation of the play of the same name, written by Jerome Lawrence and Robert Edwin Lee, was a fictionalized account of the 1925 Scopes Trial, which concerned a violation of Tennessee's Butler Act. This law had made it unlawful to teach human evolution in any state-funded school in Tennessee. It starred Spencer Tracy, portraying the real Clarence Darrow, defending the teacher, and Fredric March as his rival attorney, William Jennings Bryan, who insisted that creationism was the only valid subject that should be taught to children. It was nominated for four Academy Awards.[16] For Tracy, who was nominated as Best Actor, the film would become the first of four films he did for Kramer. "Everybody tells me how good I am," he said, "but only Stanley gives me work."[12] The film received "extravagant reviews," yet failed at the box office due to its poor distribution and advertising.[8]:220 In addition, fundamentalist groups labeled the film "anti-God" and called Kramer "anti-Christ."[8]:220 Kramer, however, explains that these groups failed to understand the real theme of the film and the actual court trial it portrayed: The spirit of the trial lives on, because the real issues of that trial were man's right to think and man's right to teach. . . the real theme of Inherit the Wind.[8]:223 Kramer also notes that the film was the third part of a "trilogy of what have been called by some 'controversial pictures,'" of which the first two were The Defiant Ones and On the Beach. "I have attempted, and I hope succeeded in, making pictures that command attention," said Kramer.[8]:223 Judgment at Nuremberg (1961)[edit] Kramer directing Like his previous film, Judgment at Nuremberg (1961) was also a fictionalized account of a real trial, this one about the Nuremberg Trials held after the defeat of the Nazis in World War II. It also starred Spencer Tracy as the leading judge, along with numerous other stars. Richard Widmark played the American military prosecutor and Maximilian Schell the defense attorney. The film was nominated for eleven Academy Awards and won two, for Schell as Best Actor and Abby Mann for Best Screenplay.[17] Reviews were extremely positive. Critic Hollis Alpert wrote in his review: Stanley Kramer has once again used film importantly and continues to emerge as the only truly responsible moviemaker in Hollywood."[11] Similarly, Arthur Knight credited Kramer for the film's significance: "From first to last, the director is in command of his material. . . . he has not only added hugely to his stature as a producer-director, but to the stature of the American film as well."[11] However, despite mostly rave reviews in the U.S. and many countries in Europe, biographer Spoto notes that during its various premiers overseas, "it shocked many, angered some, disgusted others. But it bored no one. . . "[8]:225 Kramer described its world premier, in Berlin, as "the most frightening evening in my life."[8]:229 It was attended by hundreds of dignitaries from throughout Germany. [Mayor] Willy Brandt stood up and warned the audience that they might not find the film pleasant, but that if Berlin was ever to regard itself as a capital city, then this film should be shown there because it was about all of them. "We may like or dislike or disagree with many things," he said, "but here it is." Well, the film went on, and when it was over there was a deafening silence. . . . The film was totally rejected: it never did three cents' business in Germany. It played so many empty houses it just stopped.[8]:229 William Shatner, who had a supporting role, recalls that prior to filming, Kramer and screenwriter Abby Mann required that everyone involved in the production, actors and crew alike, watch some films taken by American soldiers at the liberation of the concentration camps. "They wanted us to understand what this film was about": These films had not yet been released to the public; very few people had seen them. We didn't know what to expect. . . We watched scenes of bulldozers shoving piles of bodies into mass graves. We saw survivors, their eyes bulging, their bones practically protruding from their bodies. We saw the crematoriums and the piles of shoes. People gasped in shock, others started crying. Certainly it was the most horrifying thing I had ever seen in my life . . . But from that night on we understood the importance of the film we were making.[18] It's a Mad, Mad, Mad, Mad World (1963)[edit] After the seriousness of his previous films, Kramer "felt compelled to answer" for the "lack of lightness" in his earlier films, writes Spoto. As a result, he directed It's a Mad, Mad, Mad, Mad World (1963), a film with a "gifted, wacky crew of comedians."[8]:257 Kramer describes it as a "comedy about greed."[8]:257 According to one writer, he directed it "to prove he could also handle comedy" and hired many of the leading comedic actors of the previous decades, from silent star Buster Keaton to emerging talent Jonathan Winters. Winters would later write that "Kramer was a man who took chances—as they say, he worked without a net."[7] It played to mixed reviews with some criticizing its excessive comedy with too many comedians thereby losing its focus. Nonetheless, it was Kramer's biggest box office hit, and the public enjoyed its "socially disruptive and goofy" story and acting.[10] Film critic Dwight Macdonald writes that its "small army of actors—105 speaking roles—inflict mayhem on each other with cars, planes, explosives and other devices . . . is simply too much for the human eye and ear to respond to, let alone the funny bone," calling it "hard-core slapstick."[11] It was nominated for six Academy Awards, winning for Best Sound Editing.[19] Ship of Fools (1965)[edit] Ship of Fools (1965) has been described as a "floating Grand Hotel," an earlier film which also had an all-star cast. Its story is about personal relationships among passengers, rather than any clear plot. It takes place on board a passenger liner returning to Germany in 1933, during the rise of Nazism. Spoto describes its theme as one of "conscious social and psychological significance."[8]:266 It won two Academy Awards and was nominated for six others.[20] Some writers describe the film as a "microcosm" displaying a "weakness of the world that permitted the rise of Hitler."[11] Kramer does not disagree, and writes, "Even though we never mention him [Hitler] in the picture, his ascendancy is an ever-present factor. Most of the passengers on the ship are Germans, returning to their fatherland at a time when millions of other Germans are looking for ways to escape."[7]:204 In a scene noted by Spoto as an example, a Nazi passenger is "barking inanities" about how Germans should purify their race, to which a German-Jewish passenger responds, "There are nearly a million Jews in Germany. What are they going to do—kill us all?"[8]:268 Guess Who's Coming to Dinner (1967)[edit] For his fourth film about the sensitive subject of anti-racism, he both directed and produced Guess Who's Coming to Dinner (1967), a groundbreaking story about interracial marriage. It starred Spencer Tracy, Sidney Poitier, and Katharine Hepburn, winning two Academy Awards with eight nominations. It has been listed in the top 100 films over the last 100 years by the American Film Institute. However, despite its popularity with the public and its box-office success, many critics gave it negative reviews. For Kramer and others involved in the production, it "was one of the most important events of their lives," writes Spoto.[8]:273 Partly because it was the first film that touched the subject since the 1920s silent era. "No one would touch this most explosive of social issues" until Kramer took on the challenge. Co-star Sidney Poitier called the film "revolutionary," and stated why: No producer, no director could get the money, nor would theaters in America book it. But Kramer made people look at the issue for the first time. . . He treated the theme with humor, but so delicately, so humanly, so lovingly that he made everyone look at the question for the very first time in film history![8]:227 The film was also important as it was the last film role for Spencer Tracy, who was aware while making the film that he was dying and did in fact die a few weeks after its completion. It was his fourth film directed by Kramer and his ninth with Hepburn, who was so shaken by Tracy's death, that she refused to watch the film after it was completed. Kramer called Tracy "the greatest actor I ever worked with."[8]:280 As a result of this film's commercial success, Kramer helped spur on Hollywood to reform its film marketing practices when it was observed that the film was doing excellent business everywhere in the US, including the southern states where it was assumed that films with African American lead actors would never be accepted. As a result, the prominent presence of Black actors in films would never again be considered a factor in Hollywood film marketing and distribution.[21]:374 However, Kramer, bothered by the film's negative reviews and wanting respect as an important film artist like François Truffaut and Jean-Luc Godard, undertook a nine college speaking tour to screen the film and discuss racial integration. The effort proved a dispiriting embarrassment for him with college students largely dismissing his film and preferring to discuss less conventional fare like Bonnie and Clyde directed by Arthur Penn.[21]:398–400 The film was Kramer's last major success, and his subsequent films were not profitable, although many had mixed reviews. Among those films were The Secret of Santa Vittoria (1968), R. P. M. (1970), Bless the Beasts and Children (1971), Oklahoma Crude (1973), The Domino Principle (1977), and The Runner Stumbles (1979). Oklahoma Crude was entered into the 8th Moscow International Film Festival where Kramer won the Golden Prize for Direction.[22] At the time of his retirement, he was attempting to bring a script entitled "Three Solitary Drinkers" to the screen, a film about a trio of alcoholics that he hoped would be played by Sidney Poitier, Jack Lemmon, and Walter Matthau.[23]


Retirement and death[edit] In the 1980s, Kramer retired to Bellevue, Washington and wrote a column on movies for the Seattle Times from 1980-1996.[24] During this time, he hosted his own weekly movie show on then-independent television station KCPQ. In 1997, Kramer published his autobiography, A Mad Mad Mad Mad World: A Life in Hollywood. He died on February 19, 2001 in Los Angeles, aged 87, after contracting pneumonia. He was married three times and divorced twice. He was survived by his third wife, Karen, and four children: Casey and Larry (with Anne Pearce), and Katharine and Jennifer (with Karen Sharpe).[25]


Legacy[edit] Kramer has been called "a genuine original" as a filmmaker. He made movies that he believed in, and "straddled the fence between art and commerce for more than 30 years."[26] Most of his films were noted for engaging the audience with political and social issues of the time. When asked why he gravitated to those kinds of themes, he stated, "emotionally I am drawn to these subjects,"[10] and thought that independent productions like his might help "return vitality to the motion picture industry. . . . If our industry is to flourish, we must break away from formula thinking."[10] Film author Bill Nichols states that "Kramer's films continue a long-standing Hollywood tradition of marrying topical issues to dramatic form, a tradition in which we find many of Hollywood's more openly progressive films."[27] Among his themes, Kramer was one of the few filmmakers to delve into subjects relating to civil rights, and according to his wife, Karen Kramer, "put his reputation and finances on the line to present subject matter that meant something." He gave up his salary to make sure that Guess Who's Coming to Dinner would be completed.[28] He has not though been universally admired. Film critic David Thomson has written that Kramer's "films are middlebrow and overemphatic; at worst, they are among then most tedious and dispiriting productions the American cinema has to offer. Commercialism, of the most crass and confusing kind ... devitalised all [of] his projects."[29] Critics have often labeled Kramer's films as "message movies." Some, like Pauline Kael, were often critical of his subject matter for being "melodramas," and "irritatingly self-righteous," although she credits his films for their "redeeming social importance . . . [with] situations and settings nevertheless excitingly modern, relevant."[5]:44 Kramer, however, saw himself as "a storyteller with a point of view": Maybe I'm out of step with the times, because a lot of movies are made today with no statement at all, just shock and sensation, or a motivationless kind of approach to a story, a senseless crime, a pointless love affair. . . . Like lots of kids in the 1930s, I wanted to right all the wrongs of mankind. . . . I'm not interested in changing anyone's opinion, just in telling a story.[8]:18 In the 1960s Kramer blamed the growing "youth culture" with having changed the "artistic landscape" as he remembered it from his own youth. "No longer," he said, "were writers or filmmakers interested in creating the Great American Novel or the great American film, or indeed with exploring what it meant to be American."[10] In extreme cases, Kramer was accused of being "anti-American" due to the themes of his films, many concerning social problems or pathologies. But Kramer notes that it was his ability to produce those films in a democracy which distinguishes them: Any American film that contains criticism of the American fabric of life is accepted, both critically and by the mass audience overseas, as being something that could never have been produced in a totalitarian state. This in itself builds tremendous respect for American society among foreigners—a respect I've always wanted to encourage.[8]:17 Kramer produced and directed 23 different actors in Oscar-nominated performances, with José Ferrer, Gary Cooper, Maximilian Schell and Katharine Hepburn winning for their performances. Kramer's was among the first stars to be completed on the Hollywood Walk of Fame on March 28, 1960,[30][31] out of the original 1,550 stars created and installed as a unit in 1960. One of his daughters, Kat Kramer, is co-producer of socially-relevant documentaries, part of her series, Films That Change The World.[32] The Stanley Kramer Award[edit] The Producers Guild of America established the Stanley Kramer Award in 2002 to honor a production or individuals whose contribution illuminates and raises public awareness of important social issues.[33] Recent winners include Loving, The Hunting Ground, and The Normal Heart.


Filmography[edit] As producer and director[edit] Not as a Stranger (1955) The Pride and the Passion (1957) The Defiant Ones (1958) On the Beach (1959) Inherit the Wind (1960) Judgment at Nuremberg (1961) It's a Mad, Mad, Mad, Mad World (1963) Ship of Fools (1965) Guess Who's Coming to Dinner (1967) The Secret of Santa Vittoria (1968) R. P. M. (1970) Bless the Beasts and Children (1971) Oklahoma Crude (1973) The Domino Principle (1977) The Runner Stumbles (1979) As producer only[edit] Champion (1949) Home of the Brave (1949) The Men (1950) Cyrano de Bergerac (1950) Death of a Salesman (1951) High Noon (1952) The Sniper (1952) The Member of the Wedding (1952) Eight Iron Men (1952) The Wild One (1953) The Juggler (1953) The 5,000 Fingers of Dr. T (1953) The Caine Mutiny (1954) Pressure Point (1962) A Child Is Waiting (1963)


Academy Award Nominations[edit] Year Award Film Resulting Win 1952 Best Motion Picture High Noon Cecil B. DeMille – The Greatest Show on Earth 1954 Best Motion Picture The Caine Mutiny Sam Spiegel – On the Waterfront 1958 Best Motion Picture The Defiant Ones Arthur Freed – Gigi Best Director Vincente Minnelli – Gigi 1961 Best Picture Judgment at Nuremberg Robert Wise – West Side Story Best Director Jerome Robbins and Robert Wise – West Side Story Irving G. Thalberg Memorial Award Won 1965 Best Picture Ship of Fools Robert Wise – The Sound of Music 1967 Best Picture Guess Who's Coming to Dinner Walter Mirisch – In the Heat of the Night Best Director Mike Nichols – The Graduate


References[edit] ^ a b Film-maker Stanley Kramer dies, a February 2001 BBC obituary ^ a b "Tribute to Stanley Kramer" on YouTube with Tom Brokaw, Steven Spielberg, Quincy Jones, Harrison Ford and Al Gore ^ "Golden Globes' Most Touching Moment Wasn't Captured On TV", Deadline.com, Jan. 12, 2015 ^ "Kevin Spacey drops F-bomb during Golden Globes speech", NY Daily News, Jan. 12, 2015 ^ a b c d e f g h i j k l Byman, Jeremy. Showdown at High Noon: Witch-hunts, Critics, and the End of the Western, Scarecrow Press (2004) pp. 9, 29-45; 73-76; Ch. 5 ^ "3rd Moscow International Film Festival (1963)". MIFF. Archived from the original on 2013-01-16. Retrieved 2012-11-25.  ^ a b c d Kramer, Stanley. A Mad, Mad, Mad, Mad World: a Life in Hollywood, Harcourt Brace (1997) ^ a b c d e f g h i j k l m n o p q r Spoto, Donald. Stanley Kramer: Film Maker, Putnam (1978) ^ Membership Directory, 2010, Pi Lambda Phi Inc. ^ a b c d e f Lyman, Rick. "Stanley Kramer, Filmmaker With Social Bent, Dies at 87", New York Times February 21, 2001 ^ a b c d e f g h i Wakeman, John. Ed. World Film Directors: Volume II, 1945-1985, H. W. Wilson Company, N.Y. (1988) pp. 538-544 ^ a b c d e f Dutka, Elaine. "Stanley Kramer; Acclaimed Movies Focused on Social Issues", Los Angeles Times, Feb. 20, 2001 ^ Katz, Ephraim. The Macmillan International Film Encyclopedia, Macmillan (1998) p.767 ^ a b c Stevens, George Jr. Conversations with the Great Moviemakers of Hollywood's Golden Age, Alfred A. Knopf (2006) pp. 558-584 ^ Crowther, Bosley. The New York Times, film review, September 25, 1958 ^ "Awards for Inherit the Wind" IMDB ^ "Awards for Judgment at Nuremberg IMDB ^ Shatner, William. Up Till Now: The Autobiography, Macmillan (2008) p. 76 ^ "Awards for It's a Mad, Mad, Mad, Mad World IMDB ^ Awards for Ship of Fools, IMDB ^ a b Harris, Mark (2008). Pictures at a Revolution: Five Movies and the Birth of the New Hollywood. Penguin Press. ISBN 978-0143115038.  ^ "8th Moscow International Film Festival (1973)". MIFF. Archived from the original on 2013-01-16. Retrieved 2013-01-03.  ^ Cedar Rapids Gazette, September 19, 1979 ^ "Director Stanley Kramer dies". The Seattle Times. February 20, 2001.  ^ Lyman, Rick (21 February 2001). "Stanley Kramer, Filmmaker With Social Bent, Dies at 87". New York Times. Retrieved 5 May 2016.  ^ 501 Movie Directors, Barrons Educational Series (2007) p. 210 ^ Hillstrom, Laurie Collier (ed.) International Dictionary of Films and Filmmakers, vol 2, St. James Press (1997) pp. 548-550 ^ Jet, Aug. 18, 2008 ^ David Thomson The New Biographical Dictionary of Film, New York: Knopf; London: Little, Brown, 2002, p.477 ^ History of WOF Archived 2010-06-12 at the Wayback Machine. hollywoodchamber.net; Hollywood Chamber of Commerce. Retrieved 2010-05-31. ^ "Kramer First Name Put in Walk of Fame"(abstract). Los Angeles Times, March 29, 1960, p. 15. Full article: LA Times Archives Retrieved 2010-06-12. ^ Kat Kramer IMDB ^ "PGA honors Loving". Archived from the original on 2017-12-01. 


External links[edit] Wikimedia Commons has media related to Stanley Kramer. "Tribute to Stanley Kramer" on YouTube with Tom Brokaw, Steven Spielberg, Quincy Jones, Harrison Ford and Al Gore "The Godfather of Independent Film" on YouTube, video, 3.5 min. Stanley Kramer on IMDb Stanley Kramer at the TCM Movie Database Stanley Kramer at Find a Grave Film trailers Champion (1949) scene on YouTube The Men (1950) on YouTube High Noon (1952) on YouTube The Wild One (1953) on YouTube The Caine Mutiny (1954) on YouTube Not as a Stranger (1955) scene on YouTube The Pride and the Passion (1957) on YouTube The Defiant Ones (1958) on YouTube On the Beach (1959) on YouTube Inherit the Wind (1960) on YouTube Judgment At Nuremberg (1961) on YouTube It's A Mad Mad Mad Mad World (1963) on YouTube Ship of Fools (1965) on YouTube Guess Who's Coming to Dinner (1967) on YouTube The secret of Santa Vittoria (1968) scene on YouTube Bless the Beasts & Children (1971) on YouTube v t e Films directed by Stanley Kramer Not as a Stranger (1955) The Pride and the Passion (1957) The Defiant Ones (1958) On the Beach (1959) Inherit the Wind (1960) Judgment at Nuremberg (1961) It's a Mad, Mad, Mad, Mad World (1963) Ship of Fools (1965) Guess Who's Coming to Dinner (1967) The Secret of Santa Vittoria (1969) R. P. M. (1970) Bless the Beasts and Children (1971) Oklahoma Crude (1973) The Domino Principle (1977) The Runner Stumbles (1979) v t e Golden Globe Award for Best Director Henry King (1943) Leo McCarey (1944) Billy Wilder (1945) Frank Capra (1946) Elia Kazan (1947) John Huston (1948) Robert Rossen (1949) Billy Wilder (1950) László Benedek (1951) Cecil B. DeMille (1952) Fred Zinnemann (1953) Elia Kazan (1954) Joshua Logan (1955) Elia Kazan (1956) David Lean (1957) Vincente Minnelli (1958) William Wyler (1959) Jack Cardiff (1960) Stanley Kramer (1961) David Lean (1962) Elia Kazan (1963) George Cukor (1964) David Lean (1965) Fred Zinnemann (1966) Mike Nichols (1967) Paul Newman (1968) Charles Jarrott (1969) Arthur Hiller (1970) William Friedkin (1971) Francis Ford Coppola (1972) William Friedkin (1973) Roman Polanski (1974) Miloš Forman (1975) Sidney Lumet (1976) Herbert Ross (1977) Michael Cimino (1978) Francis Ford Coppola (1979) Robert Redford (1980) Warren Beatty (1981) Richard Attenborough (1982) Barbra Streisand (1983) Miloš Forman (1984) John Huston (1985) Oliver Stone (1986) Bernardo Bertolucci (1987) Clint Eastwood (1988) Oliver Stone (1989) Kevin Costner (1990) Oliver Stone (1991) Clint Eastwood (1992) Steven Spielberg (1993) Robert Zemeckis (1994) Mel Gibson (1995) Miloš Forman (1996) James Cameron (1997) Steven Spielberg (1998) Sam Mendes (1999) Ang Lee (2000) Robert Altman (2001) Martin Scorsese (2002) Peter Jackson (2003) Clint Eastwood (2004) Ang Lee (2005) Martin Scorsese (2006) Julian Schnabel (2007) Danny Boyle (2008) James Cameron (2009) David Fincher (2010) Martin Scorsese (2011) Ben Affleck (2012) Alfonso Cuarón (2013) Richard Linklater (2014) Alejandro G. Iñárritu (2015) Damien Chazelle (2016) Guillermo del Toro (2017) v t e Golden Globe Award for Best Motion Picture – Drama The Song of Bernadette (1943) Going My Way (1944) The Lost Weekend (1945) The Best Years of Our Lives (1946) Gentleman's Agreement (1947) Johnny Belinda / The Treasure of the Sierra Madre (1948) All the King's Men (1949) Sunset Boulevard (1950) A Place in the Sun (1951) The Greatest Show on Earth (1952) On the Waterfront (1954) East of Eden (1955) Around the World in 80 Days (1956) The Bridge on the River Kwai (1957) The Defiant Ones (1958) Ben-Hur (1959) Spartacus (1960) The Guns of Navarone (1961) Lawrence of Arabia (1962) The Cardinal (1963) Becket (1964) Doctor Zhivago (1965) A Man for All Seasons (1966) In the Heat of the Night (1967) The Lion in Winter (1968) Anne of the Thousand Days (1969) Love Story (1970) The French Connection (1971) The Godfather (1972) The Exorcist (1973) Chinatown (1974) One Flew Over the Cuckoo's Nest (1975) Rocky (1976) The Turning Point (1977) Midnight Express (1978) Kramer vs. Kramer (1979) Ordinary People (1980) On Golden Pond (1981) E.T. the Extra-Terrestrial (1982) Terms of Endearment (1983) Amadeus (1984) Out of Africa (1985) Platoon (1986) The Last Emperor (1987) Rain Man (1988) Born on the Fourth of July (1989) Dances with Wolves (1990) Bugsy (1991) Scent of a Woman (1992) Schindler's List (1993) Forrest Gump (1994) Sense and Sensibility (1995) The English Patient (1996) Titanic (1997) Saving Private Ryan (1998) American Beauty (1999) Gladiator (2000) A Beautiful Mind (2001) The Hours (2002) The Lord of the Rings: The Return of the King (2003) The Aviator (2004) Brokeback Mountain (2005) Babel (2006) Atonement (2007) Slumdog Millionaire (2008) Avatar (2009) The Social Network (2010) The Descendants (2011) Argo (2012) 12 Years a Slave (2013) Boyhood (2014) The Revenant (2015) Moonlight (2016) Three Billboards Outside Ebbing, Missouri (2017) v t e Irving G. Thalberg Memorial Award Darryl F. Zanuck (1938) Hal B. Wallis (1939) David O. Selznick (1940) Walt Disney (1942) Sidney Franklin (1943) Hal B. Wallis (1944) Darryl F. Zanuck (1945) Samuel Goldwyn (1947) Jerry Wald (1949) Darryl F. Zanuck (1951) Arthur Freed (1952) Cecil B. DeMille (1953) George Stevens (1954) Buddy Adler (1957) Jack L. Warner (1959) Stanley Kramer (1962) Sam Spiegel (1964) William Wyler (1966) Robert Wise (1967) Alfred Hitchcock (1968) Ingmar Bergman (1971) Lawrence Weingarten (1974) Mervyn LeRoy (1976) Pandro S. Berman (1977) Walter Mirisch (1978) Ray Stark (1980) Albert R. Broccoli (1982) Steven Spielberg (1986) Billy Wilder (1988) David Brown and Richard D. Zanuck (1991) George Lucas (1992) Clint Eastwood (1995) Saul Zaentz (1997) Norman Jewison (1999) Warren Beatty (2000) Dino De Laurentiis (2001) John Calley (2009) Francis Ford Coppola (2010) Authority control WorldCat Identities VIAF: 117395769 LCCN: n88068070 ISNI: 0000 0000 8186 5196 GND: 119559366 SUDOC: 079903002 BNF: cb14032444j (data) BNE: XX1175279 SNAC: w61v6zhb Retrieved from "https://en.wikipedia.org/w/index.php?title=Stanley_Kramer&oldid=822019015" Categories: 1913 births2001 deathsAmerican film directorsAmerican film producersAmerican JewsBest Director Golden Globe winnersEnglish-language film directorsGerman-language film directorsStern School of Business alumniPeople from BrooklynPeople from Bellevue, WashingtonGolden Globe Award-winning producersAcademy Honorary Award recipientsFilm directors from New York CityPeople from Hell's Kitchen, ManhattanDeaths from pneumoniaAmerican autobiographersDeWitt Clinton High School alumniHidden categories: Webarchive template wayback linksArticles with hCardsTurner Classic Movies person ID same as WikidataFind a Grave template with ID same as WikidataPages using div col with deprecated parametersWikipedia articles with VIAF identifiersWikipedia articles with LCCN identifiersWikipedia articles with ISNI identifiersWikipedia articles with GND identifiersWikipedia articles with BNF identifiersWikipedia articles with SNAC-ID identifiers


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ManhattanNew York CityNew York (state)Woodland Hills, Los AngelesCaliforniaMarilyn ErskineKaren SharpeFilm DirectorFilm ProducerSocial Problem FilmRacismThe Defiant OnesGuess Who's Coming To DinnerNuclear WarOn The Beach (1959 Film)GreedIt's A Mad, Mad, Mad, Mad WorldCreationismEvolutionInherit The Wind (1960 Film)FascismJudgment At NurembergHigh NoonThe Caine Mutiny (film)Ship Of Fools (film)Steven SpielbergVictor NavaskyKevin Spacey71st Golden Globe AwardsIrving G. 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ForesterNapoleonFrank SinatraCary GrantSophia LorenThe Defiant OnesSidney PoitierTony CurtisBosley CrowtherAcademy AwardsGeorge Stevens, Jr.Moscow Film FestivalSidney PoitierOn The Beach (1959 Film)Gregory PeckAva GardnerFred AstaireAnthony PerkinsLinus PaulingArthur Knight (film Critic)Hollis AlpertInherit The Wind (1960 Film)CreationismEvolutionJerome LawrenceRobert Edwin LeeScopes TrialSpencer TracyClarence DarrowFredric MarchWilliam Jennings BryanEnlargeJudgment At NurembergNuremberg TrialsSpencer TracyRichard WidmarkMaximilian SchellAbby MannHollis AlpertArthur Knight (film Critic)Willy BrandtWilliam ShatnerAbby MannIt's A Mad, Mad, Mad, Mad WorldBuster KeatonJonathan WintersDwight MacdonaldSlapstickShip Of Fools (film)Grand Hotel (1932 Film)NazismAnti-racismGuess Who's Coming To DinnerInterracial MarriageSpencer TracySidney PoitierKatharine HepburnAmerican Film InstituteSpencer TracyFilm MarketingFrançois TruffautJean-Luc GodardRacial IntegrationBonnie And Clyde (film)Arthur PennThe Secret Of Santa VittoriaR. P. M.Bless The Beasts And Children (film)Oklahoma Crude (film)The Domino PrincipleThe Runner Stumbles8th Moscow International Film FestivalSidney PoitierJack LemmonWalter MatthauBellevue, WashingtonSeattle TimesKCPQPneumoniaDavid Thomson (film Critic)Pauline KaelTotalitarian StateJosé FerrerGary CooperMaximilian SchellKatharine HepburnHollywood Walk Of FameLoving (2016 Film)The Hunting GroundThe Normal HeartNot As A StrangerThe Pride And The PassionThe Defiant OnesOn The Beach (1959 Film)Inherit The Wind (1960 Film)Judgment At NurembergIt's A Mad, Mad, Mad, Mad WorldShip Of Fools (film)Guess Who's Coming To DinnerThe Secret Of Santa VittoriaR. P. M.Bless The Beasts And Children (film)Oklahoma Crude (film)The Domino PrincipleThe Runner StumblesChampion (1949 Movie)Home Of The Brave (1949 Film)The Men (film)Cyrano De Bergerac (1950 Film)Death Of A Salesman (1951 Film)High NoonThe Sniper (1952 Film)The Member Of The Wedding (film)Eight Iron MenThe Wild OneThe Juggler (film)The 5,000 Fingers Of Dr. TThe Caine Mutiny (film)Pressure Point (film)A Child Is Waiting25th Academy AwardsAcademy Award For Best PictureHigh NoonCecil B. DeMilleThe Greatest Show On Earth (film)27th Academy AwardsAcademy Award For Best PictureThe Caine Mutiny (film)Sam SpiegelOn The Waterfront31st Academy AwardsAcademy Award For Best PictureThe Defiant OnesArthur FreedGigi (1958 Film)Academy Award For Best DirectorVincente MinnelliGigi (1958 Film)34th Academy AwardsAcademy Award For Best PictureJudgment At NurembergRobert WiseWest Side Story (film)Academy Award For Best DirectorJerome RobbinsRobert WiseWest Side Story (film)Irving G. Thalberg Memorial Award38th Academy AwardsAcademy Award For Best PictureShip Of Fools (film)Robert WiseThe Sound Of Music (film)40th Academy AwardsAcademy Award For Best PictureGuess Who's Coming To DinnerWalter MirischIn The Heat Of The Night (film)Academy Award For Best DirectorMike NicholsThe GraduateBBCYouTubeTom BrokawSteven SpielbergQuincy JonesHarrison FordAl GorePenguin GroupInternational Standard Book NumberSpecial:BookSources/978-0143115038Wayback MachineYouTubeTom BrokawSteven SpielbergQuincy JonesHarrison FordAl GoreYouTubeIMDbTurner Classic MoviesFind A GraveYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeYouTubeTemplate:Stanley KramerTemplate Talk:Stanley KramerNot As A StrangerThe Pride And The PassionThe Defiant OnesOn The Beach (1959 Film)Inherit The Wind (1960 Film)Judgment At NurembergIt's A Mad, Mad, Mad, Mad WorldShip Of Fools (film)Guess Who's Coming To DinnerThe Secret Of Santa VittoriaR. P. M.Bless The Beasts And Children (film)Oklahoma Crude (film)The Domino PrincipleThe Runner StumblesTemplate:Golden Globe Award For Best DirectorTemplate Talk:Golden Globe Award For Best DirectorGolden Globe Award For Best DirectorHenry King (director)Leo McCareyBilly WilderFrank CapraElia KazanJohn HustonRobert RossenBilly WilderLászló BenedekCecil B. DeMilleFred ZinnemannElia KazanJoshua LoganElia KazanDavid LeanVincente MinnelliWilliam WylerJack CardiffDavid LeanElia KazanGeorge CukorDavid LeanFred ZinnemannMike NicholsPaul NewmanCharles JarrottArthur HillerWilliam FriedkinFrancis Ford CoppolaWilliam FriedkinRoman PolanskiMiloš FormanSidney LumetHerbert RossMichael CiminoFrancis Ford CoppolaRobert RedfordWarren BeattyRichard AttenboroughBarbra StreisandMiloš FormanJohn HustonOliver StoneBernardo BertolucciClint EastwoodOliver StoneKevin CostnerOliver StoneClint EastwoodSteven SpielbergRobert ZemeckisMel GibsonMiloš FormanJames CameronSteven SpielbergSam MendesAng LeeRobert AltmanMartin ScorsesePeter JacksonClint EastwoodAng LeeMartin ScorseseJulian SchnabelDanny BoyleJames CameronDavid FincherMartin ScorseseBen AffleckAlfonso CuarónRichard LinklaterAlejandro González IñárrituDamien ChazelleGuillermo Del ToroTemplate:Golden Globe Award Best Motion Picture DramaTemplate Talk:Golden Globe Award Best Motion Picture DramaGolden Globe Award For Best Motion Picture – DramaThe Song Of Bernadette (film)Going My WayThe Lost Weekend (film)The Best Years Of Our LivesGentleman's AgreementJohnny Belinda (1948 Film)The Treasure Of The Sierra Madre (film)All The King's Men (1949 Film)Sunset Boulevard (1950 Film)A Place In The Sun (film)The Greatest Show On Earth (film)On The WaterfrontEast Of Eden (film)Around The World In 80 Days (1956 Film)The Bridge On The River KwaiThe Defiant OnesBen-Hur (1959 Film)Spartacus (film)The Guns Of Navarone (film)Lawrence Of Arabia (film)The CardinalBecket (1964 Film)Doctor Zhivago (film)A Man For All Seasons (1966 Film)In The Heat Of The Night (film)The Lion In Winter (1968 Film)Anne Of The Thousand DaysLove Story (1970 Film)The French Connection (film)The GodfatherThe Exorcist (film)Chinatown (1974 Film)One Flew Over The Cuckoo's Nest (film)RockyThe Turning Point (1977 Film)Midnight Express (film)Kramer Vs. KramerOrdinary PeopleOn Golden Pond (1981 Film)E.T. The Extra-TerrestrialTerms Of EndearmentAmadeus (film)Out Of Africa (film)Platoon (film)The Last EmperorRain ManBorn On The Fourth Of July (film)Dances With WolvesBugsyScent Of A Woman (1992 Film)Schindler's ListForrest GumpSense And Sensibility (film)The English Patient (film)Titanic (1997 Film)Saving Private RyanAmerican Beauty (1999 Film)Gladiator (2000 Film)A Beautiful Mind (film)The Hours (film)The Lord Of The Rings: The Return Of The KingThe Aviator (2004 Film)Brokeback MountainBabel (film)Atonement (film)Slumdog MillionaireAvatar (2009 Film)The Social NetworkThe DescendantsArgo (2012 Film)12 Years A Slave (film)Boyhood (film)The Revenant (2015 Film)Moonlight (2016 Film)Three Billboards Outside Ebbing, MissouriTemplate:Thalberg AwardTemplate Talk:Thalberg AwardIrving G. Thalberg Memorial AwardDarryl F. ZanuckHal B. WallisDavid O. SelznickWalt DisneySidney Franklin (director)Hal B. WallisDarryl F. ZanuckSamuel GoldwynJerry WaldDarryl F. ZanuckArthur FreedCecil B. DeMilleGeorge StevensBuddy AdlerJack L. WarnerSam SpiegelWilliam WylerRobert WiseAlfred HitchcockIngmar BergmanLawrence WeingartenMervyn LeRoyPandro S. BermanWalter MirischRay StarkAlbert R. BroccoliSteven SpielbergBilly WilderDavid Brown (producer)Richard D. ZanuckGeorge LucasClint EastwoodSaul ZaentzNorman JewisonWarren BeattyDino De LaurentiisJohn CalleyFrancis Ford CoppolaHelp:Authority ControlVirtual International Authority FileLibrary Of Congress Control NumberInternational Standard Name IdentifierIntegrated Authority FileSystème Universitaire De DocumentationBibliothèque Nationale De FranceBiblioteca Nacional De EspañaSNACHelp:CategoryCategory:1913 BirthsCategory:2001 DeathsCategory:American Film DirectorsCategory:American Film ProducersCategory:American JewsCategory:Best Director Golden Globe WinnersCategory:English-language Film DirectorsCategory:German-language Film DirectorsCategory:Stern School Of Business AlumniCategory:People From BrooklynCategory:People From Bellevue, WashingtonCategory:Golden Globe Award-winning ProducersCategory:Academy Honorary Award RecipientsCategory:Film Directors From New York CityCategory:People From Hell's Kitchen, ManhattanCategory:Deaths From PneumoniaCategory:American AutobiographersCategory:DeWitt Clinton High School AlumniCategory:Webarchive Template Wayback LinksCategory:Articles With HCardsCategory:Turner Classic Movies Person ID Same As WikidataCategory:Find A Grave Template With ID Same As WikidataCategory:Pages Using Div Col With Deprecated ParametersCategory:Wikipedia Articles With VIAF IdentifiersCategory:Wikipedia Articles With LCCN IdentifiersCategory:Wikipedia Articles With ISNI IdentifiersCategory:Wikipedia Articles With GND IdentifiersCategory:Wikipedia Articles With BNF IdentifiersCategory:Wikipedia Articles With SNAC-ID IdentifiersDiscussion About Edits From This IP Address [n]A List Of Edits Made From This IP Address [y]View The Content Page [c]Discussion About The Content Page [t]Edit This Page [e]Visit The Main Page [z]Guides To Browsing WikipediaFeatured Content – The Best Of WikipediaFind Background Information On Current EventsLoad A Random Article [x]Guidance On How To Use And Edit WikipediaFind Out About WikipediaAbout The Project, What You Can Do, Where To Find ThingsA List Of Recent Changes In The Wiki [r]List Of All English Wikipedia Pages Containing Links To This Page [j]Recent Changes In Pages Linked From This Page [k]Upload Files [u]A List Of All Special Pages [q]Wikipedia:AboutWikipedia:General Disclaimer



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