Imitation of Life
1934
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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
Dec 17, 2018 · So it seems fitting that director John M. Stahl, one of Hollywood’s great masters of melodrama, had a past that is only now coming to light; new biographical information complicates the picture of his life, while the re-emergence of his early films confirms his essential qualities as an artist.
Story …. Screenplay. 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.
John M. Stahl. Jump to Edit. Overview. Born. January 21, 1886 · Baki City District, Azerbaijan. Died. January 12, 1950 · Hollywood, Los Angeles, California, USA (heart attack) Birth name. Jacob Morris Strelitzsky. Height. 5′ 10″ (1.78 m) Mini Bio.
Jan 10, 2023 · Directed by John M. Stahl for Universal Pictures, and based on Fannie Hurst’s best-selling 1933 prefeminist rags-to-riches novel of the same name, the film raises issues of gender roles, labor, race, identity, and the American dream in a melodramatic framework that might have otherwise been regarded as that of a mere “ladies’ picture.”
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