Director Vincent Sherman and Bette Davis

Director Vincent Sherman and Bette Davis

Vincent Sherman, who directed Humphrey Bogart, Bette Davis and Errol Flynn during their 1940s heyday at Warner Bros. and was one of the last surviving studio-era contract directors, has died. He was 99.

Sherman died Sunday night of natural causes at the Motion Picture and Television Hospital, his son Eric Sherman told the Associated Press.

An actor-turned-screenwriter, Sherman began his directing career at Warner Bros. in 1939 with the low-budget "The Return of Dr. X," which is memorable only as Bogart's sole foray into the horror genre: He played a criminal who died in the electric chair and was brought back to life by a doctor who restores life to corpses.

Working on pictures assigned by the studio, Sherman quickly established a reputation as a competent technician with a flair for melodrama.

Among his credits are "All Through the Night" (1942), starring Bogart; "The Hard Way" (1942) starring Ida Lupino and Jack Carson; "Mr. Skeffington" (1944), starring Davis and Claude Rains; "The New Adventures of Don Juan" (1948), starring Flynn; "Goodbye, My Fancy" (1951), starring Joan Crawford; "Lone Star" with Clark Gable and Ava Gardner (1952) and "An Affair in Trinidad" (1952) with Rita Hayworth and Glenn Ford.

Sherman later directed Paul Newman in "The Young Philadelphians" (1959) and Richard Burton in "Ice Palace" (1960). In the 1960s, after the demise of the studio system, he turned to directing for television.

"He was a very capable craftsman whose theater training and upbringing stood him in good stead in the Hollywood system," film historian Leonard Maltin told The Times a few years ago.

Sherman was born Abraham Orovitz in Vienna, Ga., on July 16, 1906. (Sherman said his Russian-born father, who ran a small dry-goods store, changed the name from Horovitz to "Americanize it.")

Sherman graduated from Oglethorpe University in Atlanta in 1925 and planned to become a lawyer. But in 1927, while working as a newspaper police reporter in Atlanta and studying law at night, he and a former classmate wrote a play and decided to move to New York City to seek fame and fortune in the theater.

When they failed to sell their play, Sherman, who had gotten his first taste of acting while at the university, began looking for work as an actor.

Renamed Vincent Sherman by a receptionist at a talent agency, he began landing small roles in Theater Guild productions. During the summers, he worked as a social director at a camp in the Pocono Mountains of Pennsylvania, where he acted in and directed dramatic and musical shows.

In 1932, Sherman was hired for a role as a young communist in the Chicago company of Elmer Rice's play "Counsellor-at-Law."

A year later, he was brought out to Hollywood to re-create the role in director William Wyler's film version, starring John Barrymore.

Sherman stayed in Hollywood six months, playing small gangster parts in a few films before returning to New York, where he appeared in and directed numerous plays, including playing a role in Clifford Odets' "Waiting For Lefty." He also continued to write his own plays.

In 1937, a part in the road company of Sidney Kingsley's "Dead End" brought Sherman back to Los Angeles, where he met Bryan Foy, head of the B-picture unit at Warner Bros., who asked him if he would like to try writing for films.

Assigned to Foy's B-unit, Sherman began by rewriting old screenplays into new movies.

"I rewrote a Jimmy Cagney flick, 'Mayor of Hell,' and they filmed it as 'Crime School,' " he told the Toronto Star in 1997. "It became the studio's most profitable movie of the year. I took a Paul Muni picture, 'Dr. Socrates,' changed the lead to a woman, got Kay Francis [to star] and we shipped it out as 'King of the Underworld.' "

One day Foy asked Sherman to shoot a brief scene of a radio broadcast of a sporting event with a young actor the studio had recently signed: Ronald Reagan, whom Sherman later directed in "The Hasty Heart" (1949).

"I absolutely hated directing Ronald Reagan, who had a huge ego and little talent," Sherman told the Toronto Star in 1997.