Levinson made an auspicious directorial debut with DINER (1982), a semi-autobiographical coming-of-age tale set in late 1950s Baltimore. Alternately poignant and hilarious, the film played a large part in promoting the careers of its young stars Mickey Rourke, Steve Guttenberg, Daniel Stern, Kevin Bacon and Ellen Barkin. Levinson demonstrated an understated, non-intrusive style and an ear for ensemble dialogue that would serve him well in subsequent features.
THE NATURAL (1984), adapted from Bernard Malamud's 1952 novel, starred Robert Redford as baseball pro Roy Hobbs; it received mixed reviews, with some critics finding it inconsistent and sentimental but many praising the cinematography (by Caleb Deschanel) and score (by Randy Newman). YOUNG SHERLOCK HOLMES (1985) was a mildly charming Steven Spielberg-produced project that turned out to be long on special effects but short on inspiration.
The year 1987 saw the release of two Levinson films: one returned to the autobiographical territory first explored in DINER and the other established the director's major-league box-office credentials. TIN MEN, set in Baltimore in 1963 -- several years after the events of DINER -- follows the misadventures of rival aluminum siding salesmen. A rich character study, it maintains a fine balance between humor and melancholy and features some brilliantly funny dialogue, mostly traded between Richard Dreyfuss and Danny De Vito as the two protagonists. GOOD MORNING, VIETNAM was a commercially successful Robin Williams vehicle that gave its star the chance to deliver a series of highly effective comic monologues. It earned Williams an Oscar nomination but failed to fully exploit Levinson's talent for ensemble character studies.
Levinson's next feature was RAIN MAN (1988), a finely handled study of the relationship between an autistic "idiot savant" (Dustin Hoffman) and his opportunistic car salesman brother (Tom Cruise). A huge success at the box office, the film not surprisingly won four Oscars: best picture, director, actor (Hoffman) and screenplay (Ronald Bass and Barry Morrow). While the central performances garnered most of the critical attention, the director's adept handling of the unorthodox subject matter with sensitivity and style was central to the film's success. (The project had been through at least three other directors and countless rewrites before Levinson finally brought it to fruition.)
Levinson again returned to Baltimore to make AVALON (1990), an epic (if curiously deracinated) saga tracing the history of his own family from the point they first arrived in the US. Critics reacted with measured praise to a work that was felt to be overlong and lacking in direction, if ultimately rewarding. That such a personal and uncommercial project could even be produced in the Hollywood of the early 1990s bears witness to its director/producer's commitment, integrity and vision. He followed AVALON with the lavish BUGSY (1991), a stylish if superficial Warren Beatty vehicle that was critically well-received and a minor financial success.
The visual excesses of Levinson's next film, the flop TOYS (1992), may have contributed to his interest in helming the character-driven JIMMY HOLLYWOOD (1994), an episodic, anecdotal comedy filmed on a relatively small budget. He produced the long-running (1993-1999) TV cop drama "Homicide: Life on the Street."
Other notable credits include (as producer) DISCOSURE (1994, also director), SLEEPERS (1996, also director & writer), DONNIE BRASCO (1997), WAG THE DOG (1997, also director), SPHERE (also director) and HOME FRIES (both 1998), LIBERTY HEIGHTS (1999, also director & writer), THE PERFECT STORM (2000, exec. producer), BANDITS (2001, also director), POSSESSION and ANALYZE THAT (exec. producer) (both 2002) and ENVY (2003, also director). His most recent directing credits include HINDSIGHT IS 20/20 (2004), MAN OF THE YEAR (2006, also writer), and WHAT JUST HAPPENED and BOONE'S LICK (both planned for 2008).
Nominated for Writing (Best Screenplay written directly for the screen) 1979: ...AND JUSTICE FOR ALL
Nominated for Writing (Best Screenplay written directly for the screen) 1982: DINER
Best Achievement in Directing 1988: RAIN MAN
Nominated for Best Screenplay Written Directly For the Screen 1990: AVALON
Nominated for Best Picture of the Year 1991: BUGSY - Producer at Tri-Star (w. Mark Johnson & Warren Beatty)
Nominated for Best Achievement in Directing 1991: BUGSY
6 nominations, 1 Award