Daniel Mandell

For the American historian, see Daniel R. Mandell.

Daniel Mandell
Born	(1895-08-13)August 13, 1895 New York City, New York, U.S.
Died	June 8, 1987(1987-06-08) (aged 91) Huntington Beach, California, U.S.
Occupation	Film editor
Years active	1922–1966

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).

See also

• List of film director and editor collaborations

External links

• Daniel Mandell at IMDb

Further reading

• 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.