Editing Rod Steiger (section)

===Mainstream film acclaim (1964–1969)===
{{quote box|width=30em|bgcolor=#c6dbf7|align=right|quote=Well they never went away. 'The Pawnbroker', directed by Sidney Lumet, was an independent, so was 'The Sergeant'. They're just coming back stronger because the greed finally ran into a wall, and what proved it was all these small independent films getting nominations and winning awards where all these multi-million dollar films did nothing, and that really shook them up. I would always say the bigger the budget, the less imagination. In the old days, they had designers who, if they had to create a battleship, would get a bit of net and a bit of board and make one. Now there is no imagination. If they want a destroyer now, they ring up the government and get a real one. There aren't any challenges any more; they're home decorators.|source= — Steiger on appearing in [[independent film]]s<ref name="ST interview"/> }}

Shortly after ''Hands over the City'', Steiger agreed to appear in another Italian film, ''[[Time of Indifference]]'' (1964), in which he starred opposite [[Claudia Cardinale]] and [[Shelley Winters]].{{sfn|Goble|1999|p=333}} Though Steiger's powerful performance was unaffected, the production was marred by a dispute between director [[Francesco Maselli]] and producer [[Franco Cristaldi]], with one wanting it to be a purely political film and the other wanting emphasis on the erotic subplot and his relationship with Cardinale.{{sfn|Hutchinson|1998|p=111}} In Sidney Lumet's gritty drama ''[[The Pawnbroker (film)|The Pawnbroker]]'' (1964), Steiger played an embittered, emotionally withdrawn survivor of [[the Holocaust]] living in New York City. Richard Harland Smith of TCM notes that Steiger's career was waning at the time, and he had to "scramble for paying gigs for a decade" before getting this part.<ref name="TCM62"/> Steiger agreed to a reduced fee of $50,000. He read [[The Pawnbroker|Edward Lewis Wallant's novel]] and the script many times to develop an intimate understanding of the character, and insisted on reducing his lines to make his character more realistic and alienated from society.<ref name="MAB"/> Lumet noted that during the production Steiger had a tendency to be overly dramatic, stating: "Sure, Rod has weaknesses of rhetoric, but you can talk them through with him. I explained that this solitary Jew could not rise to heights of emotion; he had been hammered by life and by people. The faith he had to find was in other people, because God had betrayed him."<ref name="TCM64">{{cite web|url=https://www.tcm.com/this-month/article/87957|title=''The Pawnbroker''|publisher=Turner Classic Movies|access-date=July 23, 2015|first=Jeff|last=Stafford|archive-url=https://web.archive.org/web/20150928055655/http://www.tcm.com/this-month/article/87957%7C0/The-Pawnbroker.html|archive-date=September 28, 2015|url-status=live}}</ref>

Steiger remarked of the film: "I think my best work is in ''The Pawnbroker''. The last scene, where I find the boy dead on the street. I think that's the highest moment, whatever it may be, with my talent."<ref name="TCMRS"/> He drew upon inspiration for this climactic scene, in which he appears to show his frustration through a silent scream, from [[Pablo Picasso|Picasso]]'s ''[[Guernica (Picasso)|Guernica]]'', which depicts war-ravaged villagers. [[Cecil Wilson (journalist)|Cecil Wilson]] of the ''[[Daily Mail]]'' wrote that Steiger's character "seems to encompass all the agony ever inflicted on man".{{sfn|Hutchinson|1998|p=118}} Although the film attracted controversy and was accused of [[antisemitism]],{{Efn|The film caused considerable controversy among both Jewish and African-American communities. Several Jewish organizations propagated a boycott of the film due to "its uncompromising presentation of the Jewish pawnbroker which they felt encouraged anti-Semitism". A number of Black groups also accused the film of advocating racial stereotypes of the inner city, due to its portrayal of pimps, prostitutes and drug addicts.<ref name="TCM64"/>{{sfn|Brode|1990|p=155}}}} Steiger was widely acclaimed for his performance, which garnered him the prize for Best Actor at the [[Berlin International Film Festival]] and his second Best Actor nomination at the Oscars.<ref name="NYT bio"/> Steiger was certain that he had produced an Oscar-winning performance; he was shocked when he lost to [[Lee Marvin]].<ref name="TCM64"/>{{efn|The Academy loss was a major wake up call for him. Steiger scolded himself for it: "Listen, jackass, never take happiness, never take your talent, for granted. Never in any walk of life, take for granted your capabilities. Each minute a second of life is a challenge—so sit still, schmuck, and let this be a lesson to you. Happiness has to be earned and respected. Rewards must never be taken for granted".{{sfn|Hutchinson|1998|p=119}}}}
[[File:Rod Steiger the Pawnbroker 2.jpg|thumb|left|Steiger in ''[[The Pawnbroker (film)|The Pawnbroker]]'' (1964)]]
In 1965, Steiger played an effeminate embalmer in [[Tony Richardson]]'s comedy ''[[The Loved One (film)|The Loved One]]'', about the funeral business in [[Los Angeles]], based on the [[The Loved One (book)|1948 short satirical novel]] by [[Evelyn Waugh]].{{sfn|Zimmerman|2009|p=95}} His curly-haired appearance in the film was modeled on a bust of [[Apollo]] he once saw while meeting Richardson.{{sfn|Hutchinson|1998|p=120}} Steiger offended Bosley Crowther of ''[[The New York Times]]'', who found his character repellent.{{sfn|Hutchinson|1998|p=121}} His next role, as Komarovsky, a Russian politician and "villainous opportunist" who rapes [[Julie Christie]]'s character in [[David Lean]]'s ''[[Doctor Zhivago (film)|Doctor Zhivago]]'' (1965), was one of his favorites.<ref name="Inc1966">{{cite magazine|title=Epic of Beauty and Terror|url=https://books.google.com/books?id=B0wEAAAAMBAJ&pg=PA48|date=January 21, 1966|magazine=[[Life (magazine)|Life]]|page=48|issn=0024-3019}}</ref> Steiger, one of only two Americans in the cast, was initially apprehensive about working with such great British actors as [[Ralph Richardson]] and [[Alec Guinness]],<ref>{{cite web |first=Jeff |last=McNeal |date=November 1, 2001 |title=Rod Steiger interview |publisher=bigpicturedvd.com |url=http://www.thebigpicturedvd.com/bigreport12.shtml |archive-url=https://web.archive.org/web/20071010033541/http://www.thebigpicturedvd.com/bigreport12.shtml |archive-date=October 10, 2007 |access-date=July 22, 2015}}</ref> and was pleased when the film was completed that he did not stand out as an American.<ref name="MAB"/> The film was the biggest international box office draw of the 1960s,<ref>{{cite book|title=Program Austrian Cultural Season in Russia 2013/14 – Photo project Dr. Schiwago by Austrian group of artists G. R. A. M.|url=https://books.google.com/books?id=pleiPwg5K0cC&pg=PA314|publisher=AustrianCulturalForum Moscow|page=314|id=GGKEY:XE8SU7JWWQU}}</ref> grossing $200 million worldwide.{{sfn|Phillips|2006|p=358}} It has since been acclaimed as one of the [[List of films considered the best|greatest films ever made]], and in 1998 was selected as the 39th best American film in the original [[AFI's 100 Years...100 Movies]] list by the [[American Film Institute]].<ref>{{cite web|url=http://www.afi.com/100years/movies.aspx|title=AFI's 100 Years...100 Movies|publisher=[[American Film Institute]]|access-date=July 22, 2015|archive-url=https://web.archive.org/web/20150928060051/http://www.afi.com/100years/movies.aspx|archive-date=September 28, 2015|url-status=live}}</ref>
[[File:Sidney Poitier 1968.jpg|thumb|[[Sidney Poitier]] considered Steiger and [[Spencer Tracy]] to be the finest actors with whom he ever worked.]]
Steiger had intended returning to the stage, and had signed on to play the title character in [[Bertolt Brecht]]'s ''[[Life of Galileo|Galileo]]'', at the [[Lincoln Center|Lincoln Center Repertory Company]] in April 1967, but the production was cancelled when he became ill.{{sfn|Hutchinson|1998|p=109}} Steiger won the Best Actor Oscar for his portrayal of Chief of Police Bill Gillespie in ''[[In the Heat of the Night (film)|In the Heat of the Night]]'', opposite [[Sidney Poitier]]. He played a Southern police chief searching for a murderer. A stereotypical Southern racist, he jumps to the conclusion that the culprit is Virgil Tibbs (Poitier), an African-American man passing through town after visiting his mother, who later turns out to be an experienced homicide detective from [[Philadelphia]]. The film deals with the way the two men interact and join forces in solving the crime, as Steiger's Gillespie learns to greatly respect the black man he initially took to be a criminal.<ref>{{cite web | url=https://www.tcm.com/this-month/article/21309 | title=''In the Heat of the Night'' (1967) | publisher=Turner Classic Movies | access-date=September 1, 2015 | first=Jerry | last=Renshaw | archive-url=https://web.archive.org/web/20150928060209/http://www.tcm.com/this-month/article/21309%7C0/In-the-Heat-of-the-Night.html | archive-date=September 28, 2015 | url-status=live}}</ref> Steiger drew upon his experience in the Navy with a Southerner named "King", remembering his accent.<ref name="ST interview"/> Poitier considered Steiger and [[Spencer Tracy]] to have been the finest actors he had ever worked with, remarking in 1995, "He's so good he made me dig into bags I never knew I had."<ref>{{cite book|title=Film Review|url=https://books.google.com/books?id=11xZAAAAMAAJ|year=1995|publisher=Orpheus Pub.}}</ref> A. D. Murphy of ''Variety'' described Steiger's performance as "outstanding", writing: "Steiger's transformation from a diehard Dixie bigot to a man who learns to respect Poitier stands out in smooth comparison to the wandering solution of the murder."<ref>{{cite web|author=Murphy, A.D|url=https://variety.com/1967/film/reviews/in-the-heat-of-the-night-1200421432/|title=''In the Heat of the Night''|work=[[Variety (magazine)|Variety]]|date=June 21, 1967|access-date=July 22, 2015|archive-url=https://web.archive.org/web/20150928060239/http://variety.com/1967/film/reviews/in-the-heat-of-the-night-1200421432/|archive-date=September 28, 2015|url-status=live}}</ref> Steiger won a plethora of other awards, including a [[BAFTA Award for Best Actor in a Leading Role|BAFTA]],<ref>{{cite web|url=http://awards.bafta.org/award/1968/film/foreign-actor |title=Best Foreign Actor in 1968 |publisher=[[British Academy Film Awards|BAFTA.org]] |access-date=September 1, 2015 |archive-url=https://web.archive.org/web/20150928060349/http://awards.bafta.org/award/1968/film/foreign-actor |archive-date=September 28, 2015 |url-status=live}}</ref> a [[Golden Globe Award for Best Actor – Motion Picture Drama|Golden Globe]],<ref>{{cite web | url=http://www.goldenglobes.com/rod-steiger | title=Rod Steiger | publisher=[[Golden Globe Award|Golden Globes]] | access-date=September 1, 2015 | archive-url=https://web.archive.org/web/20150928060407/http://www.goldenglobes.com/rod-steiger | archive-date=September 28, 2015 | url-status=dead | df=mdy-all }}</ref> and awards for Best Actor from the [[National Society of Film Critics Award for Best Actor|National Society of Film Critics]] and the [[New York Film Critics Circle Award for Best Actor|New York Film Critics Circle]].<ref>{{cite web | url=http://nationalsocietyoffilmcritics.com/about-2/ | title=National Society of Film Critics Awards | date=December 19, 2009 | publisher=[[National Society of Film Critics]] | access-date=September 1, 2015 | archive-url=https://web.archive.org/web/20150928060427/http://nationalsocietyoffilmcritics.com/about-2/ | archive-date=September 28, 2015 | url-status=live}}</ref><ref>{{cite web | url=http://www.nyfcc.com/awards/?cat=2 | title=New York Film Critics Circle Awards | publisher=[[New York Film Critics Circle]] | access-date=September 1, 2015 | archive-url=https://web.archive.org/web/20150928060456/http://www.nyfcc.com/awards/?cat=2 | archive-date=September 28, 2015 | url-status=live}}</ref>

In 1968, Steiger played a serial killer opposite [[George Segal]] in [[Jack Smight]]'s black comedy thriller ''[[No Way to Treat a Lady (film)|No Way to Treat a Lady]]''.<ref name="NYT bio"/> During the course of the film, he adopts various disguises, including those of an Irish priest, a New York City policeman, a German plumber, and a gay hairdresser, to avoid being identified, and to put his victims at ease, before strangling them and painting a pair of lips on their foreheads with garish red lipstick. The film and Steiger's performance were critically acclaimed, with [[Vincent Canby]] of ''The New York Times'' highlighting Steiger's "beautifully uninhibited performance as a hammy",<ref>{{cite news|author=Canby, Vincent|url=https://www.nytimes.com/movie/review?res=950CE1DE1131E034BC4951DFB5668383679EDE|title=''No Way to Treat a Lady'' (1968)|work=The New York Times|date=March 21, 1968|access-date=July 22, 2015|archive-url=https://web.archive.org/web/20150928060807/http://www.nytimes.com/movie/review?res=950CE1DE1131E034BC4951DFB5668383679EDE|archive-date=September 28, 2015|url-status=live}}</ref> and a writer for ''[[Time Out (magazine)|Time Out]]'' describing him as "brilliant as a sort of [[Boston Strangler|Boston strangler]], son of a great actress who has left her boy with a mother fixation".<ref>{{cite web|url=http://www.timeout.com/london/film/no-way-to-treat-a-lady|title=''No Way to Treat a Lady''|work=[[Time Out (magazine)|Time Out]]|date=September 10, 2012 |access-date=July 22, 2015|archive-url=https://web.archive.org/web/20150928060918/http://www.timeout.com/london/film/no-way-to-treat-a-lady|archive-date=September 28, 2015|url-status=live}}</ref>

Later in 1968, Steiger played a repressed gay [[non-commissioned officer]] opposite [[John Phillip Law]] in [[John Flynn (director)|John Flynn]]'s ''[[The Sergeant (1968 film)|The Sergeant]]'' for [[Warner Bros.-Seven Arts]], which earned him the [[David di Donatello for Best Foreign Actor|David di Donatello Award for Best Foreign Actor]].<ref>{{cite book|title=VFW Auxiliary&nbsp;– American Spirit Award|url=https://books.google.com/books?id=-50MAQAAMAAJ|year=1993|publisher=Ladies Auxiliary to the Veterans of Foreign Wars of the United States|page=10}}</ref> Despite the award win, film critic [[Pauline Kael]] of ''[[The New Yorker]]'' was particularly critical of the casting of Steiger as a homosexual and felt that he was "totally outside his range", to which Steiger concurred that he was ineffective.{{sfn|Hutchinson|1998|pp=124–25}}

Steiger was cast as a short-tempered tattooed man with soon-to-be ex-wife Claire Bloom in the science fiction picture ''[[The Illustrated Man (film)|The Illustrated Man]]'' (1969). The film was a critical and commercial failure,<ref>{{cite magazine|url=http://www.time.com/time/magazine/article/0,9171,840041,00.html |title=New Movies: Walking Nightmare |magazine=[[Time (magazine)|Time]] |date=April 4, 1969 |access-date=July 22, 2015 |archive-url=https://web.archive.org/web/20120209214726/http://www.time.com/time/magazine/article/0%2C9171%2C840041%2C00.html |archive-date=February 9, 2012 |url-status=dead}}</ref> and [[Ray Bradbury]] said: "Rod was very good in it, but it wasn't a good film{{nbsp}}... the script was terrible".{{sfn|Hutchinson|1998|p=57}} Steiger had better luck alongside Bloom later that year in [[Peter Hall (director)|Peter Hall]]'s British drama ''[[Three into Two Won't Go]]'', playing an Irishman who cheats on his wife with a young hiker. It was entered into the [[19th Berlin International Film Festival|Berlin International Film Festival]] and became the 19th most popular film at the UK box office in 1969.{{Sfn|Allon|Cullen|Patterson|2002|p=137}}<ref>{{cite news | title=The World's Top Twenty Films | work=[[The Sunday Times]] | date=September 27, 1970 | page=27}}</ref>