|Born||August 13, 1895|
New York City, New York
|Died||June 8, 1987 (aged 91)|
Daniel Mandell (August 13, 1895 – June 8, 1987) was an American film editor with more than 70 film credits. His first editing credit was for The Turmoil in 1924. From Dodsworth (1936) to Porgy and Bess (1959), Mandell worked for Samuel Goldwyn Productions. He had notable collaborations with directors William Wyler (1933–1946) and Billy Wilder (1957–1966). Mandell's last credit was for The Fortune Cookie in 1966.
Mandell won the Academy Award for Best Film Editing for The Pride of the Yankees (1942; directed by Sam Wood), The Best Years of Our Lives (1946; directed by William Wyler), and The Apartment (1960; directed by Billy Wilder). No editor has won more than three Academy Awards, and only three others have won three times: Ralph Dawson, Michael Kahn, and Thelma Schoonmaker. Mandell was nominated for the Academy Award for two additional films, The Little Foxes (1941; directed by William Wyler) and Witness for the Prosecution (1957; directed by Billy Wilder).
Additional credits include Holiday (1930), Counsellor at Law (1933), Dodsworth (1936), Wuthering Heights (1939), Meet John Doe (1941), The North Star (1943), Enchantment (1948), Roseanna McCoy (1949), Guys and Dolls (1955), and Kiss Me, Stupid (1964).
- "Daniel Mandell, Won 3 Film Editing Oscars". The New York Times. June 13, 1987. This article incorrectly indicates that Mandell was nominated for an Academy Award for Wuthering Heights (1939).
- Birth and death information checked at the Social Security Death Index, where it is listed as unverified.
- See Daniel Mandell on IMDb for list of film credits.
- "Film Editing Facts". Academy of Motion Picture Arts & Sciences. March 2010. Archived from the original on 2009-10-19. Retrieved 2010-07-18.
- Hanson, Patricia King (2000). "Daniel Mandell". In Pendergast, Tom; Pendergast, Sara (eds.). International Dictionary of Film and Filmmakers (4 ed.). St. James Press. ISBN 978-1-55862-449-8. OCLC 44818539.
His second Oscar, again for Goldwyn, was for the magnificent work he did on The Best Years of Our Lives. Although the film was an almost actionless drama, the superb editing of the climactic sequence at the deserted airfield was an outstanding achievement. It still stands up well against the more modern, technologically advanced work of films like the Terminator series in which technique dominates artistry.
- Armstrong, Richard (2004). Billy Wilder, American Film Realist. McFarland. p. 100. ISBN 9780786421190.
Daniel Mandell's editing [of The Apartment] reinforces Wilder's critique and even appears to reinstall a sense of continuity into lives reduces to moments of material and sexual gratification.
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