Age, Biography and Wiki

Joseph H. Lewis (Wagon Wheel Joe, Joe) was born on 6 April, 1907 in New York City, New York, USA, is a Director, Editorial Department, Editor. Discover Joseph H. Lewis's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of Joseph H. Lewis networth?

Popular As Wagon Wheel Joe, Joe
Occupation director,editorial_department,editor
Age 93 years old
Zodiac Sign Aries
Born 6 April 1907
Birthday 6 April
Birthplace New York City, New York, USA
Date of death 30 August, 2000
Died Place Santa Monica, California, USA
Nationality United States

We recommend you to check the complete list of Famous People born on 6 April. He is a member of famous Director with the age 93 years old group.

Joseph H. Lewis Height, Weight & Measurements

At 93 years old, Joseph H. Lewis height not available right now. We will update Joseph H. Lewis's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
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Who Is Joseph H. Lewis's Wife?

His wife is Buena Lewis (? - 30 August 2000) ( his death) ( 1 child)

Family
Parents Not Available
Wife Buena Lewis (? - 30 August 2000) ( his death) ( 1 child)
Sibling Not Available
Children Not Available

Joseph H. Lewis Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Joseph H. Lewis worth at the age of 93 years old? Joseph H. Lewis’s income source is mostly from being a successful Director. He is from United States. We have estimated Joseph H. Lewis's net worth , money, salary, income, and assets.

Two-Fisted Rangers (1939)$250
Blazing Six Shooters (1940)$250
The Man from Tumbleweeds (1940)$250
Texas Stagecoach (1940)$250
The Return of Wild Bill (1940)$250

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Timeline

1997

Interviewed in Peter Bogdanovich's "Who the Devil Made It: Conversations With Robert Aldrich, George Cukor, Allan Dwan, Howard Hawks, Alfred Hitchcock, Chuck Jones, Fritz Lang, Joseph H. Lewis, Sidney Lumet, Leo McCarey, Otto Preminger, Don Siegel, Josef von Sternberg, Frank Tashlin, Edgar G. Ulmer, Raoul Walsh." NY: Alfred A. Knopf, 1997.

1958

His cinematic curtain call was the low-budget western Terror in a Texas Town (1958), characterized by deliberate and fluid camera movement and some neat touches, like the hero (Sterling Hayden) sporting a harpoon for the climactic final showdown. The idea of successfully uniting the townsfolk against the tyranny of arbitrary rule was also intended as a veiled attack on McCarthyism. With the credits shot through the spokes of a wagon wheel, "Terror" was a fitting finale to Lewis's career.

1955

Another candidate for inclusion on any Lewis "best" list would have to be Big Combo, The - 1955 (1955), made for Allied Artists and boasting impressive camera work by John Alton. It marked the beginning of a new cycle of films in which violence became rather more accentuated (the film ran into censorship trouble for that reason) and where the villain (in this case, philosophizing racketeer Richard Conte) was rather more interesting and dynamic than the maniacally obsessive but dullish nominal hero (cop Cornel Wilde).

1953

After suffering a heart attack in 1953, Lewis began to reduce his workload.

1950

The term "style over content" fits director Joseph H. Lewis like a glove. His ability to elevate basically mundane and mediocre low-budget material to sublime cinematic art has gained him a substantial cult following among movie buffs. The Bonnie & Clyde look-alike Gun Crazy (1950), shot in 30 days on a budget of $400,000, is often cited as his best film. This taut gangster flick about two gun-crazy sociopaths on a crime spree is impregnated with an electric atmosphere, zipping along at a breakneck pace. It has been likened to a "tone poem of camera movement" and described by Martin Scorsese as "unrelenting and involving". A master of expressive lighting, tight close-ups, tracking and crane shots and offbeat camera angles and perspectives, Lewis possessed an instinctive sense of visual style, which imbued even the most improbable of his B-grade westerns and crime melodramas. Significant peripheral detail was his stock-in-trade.

1945

Pick of the bunch were two slick second features during his spell at Columbia, My Name Is Julia Ross (1945), about a diabolical murder plot involving Nina Foch in her first starring role; and So Dark the Night (1946), an offbeat psychological thriller with character actor Steven Geray well cast as a French detective who unwittingly investigates his own crimes.

1939

During the next two decades, Lewis spent time at Columbia (1939-40, 1946-49), Universal again (1942), PRC (1944), MGM (1950, 1952-53) and United Artists (1957-58), reliably turning out a couple of pictures per year. While he helmed more than his fair share of horse operas, it was invariably his films noir which attracted the most attention.

1937

He was signed to a full directing contract by Universal in 1937.

1920

He acquired these skills working as a camera assistant in the 1920's (his aptitude for the work may have been come from his optometrist father) and further honed them in the MGM editorial department in the early '30s. After that Lewis edited serials at Republic and served the remainder of his apprenticeship as second unit director.

1890

Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945." Pages 661-666. New York: The H.W. Wilson Company, 1987.