Items in the 16 Jan 1962 DV and 17 Jan 1962 NYT announced that former United Artists promotions executive Roger Lewis had begun development of his first independent picture, The Pawnbroker, in association with Philip Langner. For the adaptation, the original Harlem, New York City setting of Edward Lewis Wallant’s 1961 novel was changed to the Soho neighborhood of London, England, which Lewis felt would provide “a greater variety of characters.” However, a 4 Jul 1962 DV brief suggested that the project was moved abroad to take advantage of the U.K.’s Eady Levy after the filmmakers experienced difficulty securing upfront finances in the U.S. In a 16 Oct 1963 Var article, Langner detailed the objections of several major companies, including one that requested they eliminate critical character elements, such as references to the leading character’s experience in a concentration camp. According to the 4 Apr 1962 and 13 Jun 1962 Var, Lewis eventually made a deal with Metro-Goldwyn-Mayer (MGM) to sponsor a first treatment of the script and find a possible star and director, in addition to use of their MGM British Studios. Despite the early interest of director Daniel Petrie, he did not commit to the project.
       By early the next year, a 23 Jan 1963 Var noted the involvement of producer Ely Landau, and the 20 Feb 1963 DV named Ted Allan as screenwriter. Two months later, however, a 22 Apr 1963 DV brief stated Mort Fine and David Friedkin had assumed scripting duties as part of a three-picture deal with Landau. At this stage of development, the setting had been restored to New York City, while the 24 Apr 1963 NYT claimed that Franklin Schaffner would direct James Mason in the title role.
       Later that summer, items in the 14 Aug 1963 and 11 Sep 1963 Var indicated Arthur Hiller was briefly attached to direct, but decided to move to another project within the company. Sidney Lumet stepped in as his replacement, marking his reunion with Landau after their collaboration on Long Day’s Journey Into Night (1962, see entry). On 28 Aug 1963, NYT confirmed that Rod Steiger, the filmmakers’ original choice to play “Sol Nazerman,” had officially signed on. The 16 Oct 1963 Var reported that both he and Lumet had agreed to low salaries in exchange for a percentage of the profits. Around this time, Irving Asher, Joseph Manduke, and Alfred Markim also joined the Landau Co. in executive roles.
       According to a 4 Sep 1963 DV brief, Landau hoped to cast Sal Mineo, but was unable to overcome scheduling conflicts with the actor’s commitment to Cheyenne Autumn (1964, see entry). Additional Var casting announcements throughout production named Fritz and Annette Olsen, Eusebia Cosme, Hilda Haynes, and Tyree Glenn, Jr. (appearing as a jazz band leader) as players in the film.
       After a period of rehearsal in New York City, principal photography began 7 Oct 1963, as stated in an 18 Oct 1963 DV production chart. Despite earlier plans to shoot at the Biltmore Studios, interiors were completed at the Fox Movietone Studios in Hell’s Kitchen. An article in the 3 Nov 1963 NYT indicated that the eight-week schedule also consisted of scenes filmed in the East Harlem neighborhood known as “Spanish Harlem”; Jericho, Long Island, NY; Lincoln Center; and Connecticut.
       Although the 4 Sep 1963 Var reported that Boris Leven was attached as art director, the job was ultimately filled by Richard Sylbert. A 25 Sep 1963 Var brief named Mel Ash as a “unit man,” and the 13 Nov 1963 edition reported the involvement of second assistant cameraman Robert Puello, one of just five African-American cameramen working for the International Alliance of Theatrical Stage Employees (IATSE) in the U.S. and Canada at that time.
       According to the 17 Jun 1964 Var, The Pawnbroker had been selected as the official U.S. entry to screen at the Berlin Film Festival, which ran 26 Jun—7 Jul 1964. Steiger received the festival’s Silver Bear award for best actor.
       Prior to its domestic release, The Pawnbroker sparked controversy with the Motion Picture Association of America (MPAA) for failing to receive a Code Seal from Code Authority Geoffrey Shurlock. As the scenes in question included footage of a bare breast and a woman being stripped naked upon entering a concentration camp, Landau requested a meeting of the Appeals Board to reverse the decision. On 31 Mar 1965 Var announced that the seal was awarded with no edits required. Although several sources speculated that this ruling would significantly alter future regulations about nudity on film, members of the Appeals Board made clear that this was an exception and should not influence the PCA or encourage filmmakers.
       A 2 Apr 1965 NYT news item announced the “world premiere” on 20 Apr 1965 at three New York City theatres, which according to a 28 Apr 1965 DV item, yielded an impressive opening week gross of $63,200. Los Angeles, CA, playdates began the same day at the Pantages Theatre. A 2 Jun 1965 DV stated that the exclusive run was expected to end 21 Jun 1965, when the Pantages was scheduled to close for renovations related to a change in management.
       Steiger’s performance earned him an Academy Award nomination for Best Actor.
       While the official copyright length is 119 minutes, DV’s 6 Jul 1964 Berlin Film Festival review and the 21 Apr 1965 NYT review listed running times of 112 and 114 minutes.