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John Malcolm Stahl (January 21, 1886 – January 12, 1950) was an American film director and producer. He is best known for his films such as Leave Her to Heaven (1945), Imitation of Life (1934), The Keys of the Kingdom (1945), and Back Street (1932).
John M. Stahl. Director: Leave Her to Heaven. John Stahl was the final executive in charge of Tiffany Pictures (located on the Talisman lot, later owned by Monogram Pictures), once a big fish in the pond of "Poverty Row", which in those days also included Columbia Pictures.
- January 1, 1
- Baki City District, Azerbaijan
- January 1, 1
- Hollywood, Los Angeles, California, USA
May 8, 2024 · John M. Stahl (born January 21, 1886, New York City, New York, U.S.—died January 12, 1950, Los Angeles, California) was an American filmmaker who was considered one of the preeminent directors of so-called “women’s pictures,” melodramas that were aimed at female moviegoers.
- Michael Barson
Imitation of Life: Directed by John M. Stahl. With Claudette Colbert, Warren William, Rochelle Hudson, Ned Sparks. A struggling widow and her daughter take in a Black housekeeper and her fair-skinned daughter; the two women start a successful business but face familial, identity, and racial issues along the way.
- (5.7K)
- Comedy, Drama, Romance
- John M. Stahl
- 1934-11-26
Dec 17, 2018 · Best known for his 1930s women’s pictures made at Universal ( Imitation of Life, Magnificent Obsession) and his Technicolor noir Leave Her to Heaven (1945), Stahl was a major filmmaker in the silent era, but until recently it was assumed that his pre-sound films were nearly all lost or unavailable.
John Malcolm Stahl (January 21, 1886 – January 12, 1950) was an American film director and producer. Born in New York City, New York, he began working in the city's growing motion picture industry at a young age and directed his first silent film short in 1914.
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Jan 10, 2023 · In its ambivalence toward its provocative themes, John M. Stahl’s groundbreaking exploration of racial identity demonstrates the insolubility of Hollywood’s representational conundrum.
