Fred Zinnemann | |
|---|---|
 Zinnemann in the 1940s | |
| Born | Alfred Zinnemann (1907-04-29)April 29, 1907 |
| Died | March 14, 1997(1997-03-14) (aged 89) London, England |
| Alma mater | |
| Occupations |
|
| Years active | 1932–1982 |
| Notable work | |
| Spouse | |
| Children | Tim Zinnemann |
| Awards | See list |
Alfred Zinnemann (April 29, 1907 – March 14, 1997) was an American film director and producer. He won fourAcademy Awards for directing and producing films in various genres, includingthrillers,westerns,film noir andplay adaptations. He began his career in Europe before emigrating to the US, where he specialized inshorts before making 25 feature films during his 50-year career.
He was among the first directors to insist on using authentic locations and for mixing stars with non-professional actors to give his films more realism. Within the film industry, he was considered a maverick for taking risks and thereby creating unique films, with many of his stories being dramas about lone and principled individuals tested by tragic events. According to one historian[who?], Zinnemann's style demonstrated his sense of "psychological realism and his apparent determination to make worthwhile pictures that are nevertheless highly entertaining."[citation needed]
Among his films wereThe Search (1948),The Men (1950),High Noon (1952),From Here to Eternity (1953),Oklahoma! (1955),The Nun's Story (1959),The Sundowners (1960),A Man for All Seasons (1966),The Day of the Jackal (1973), andJulia (1977). His films received 65 Oscar nominations, winning 24; Zinnemann himself was nominated for ten, and wonBest Director forFrom Here to Eternity (1953),Best Picture and Best Director forA Man for All Seasons (1966), andBest Documentary, Short Subjects forBenjy (1951).
Zinnemann directed and introduced a number of stars in their American film debuts, includingMarlon Brando,Rod Steiger,Pier Angeli,Julie Harris,Brandon deWilde,Montgomery Clift,Shirley Jones andMeryl Streep. He directed 19 actors to Oscar nominations, includingFrank Sinatra,Montgomery Clift,Audrey Hepburn,Glynis Johns,Paul Scofield,Robert Shaw,Wendy Hiller,Jason Robards,Vanessa Redgrave,Jane Fonda,Gary Cooper andMaximilian Schell.
In Austria, discrimination had been part of life since time immemorial. It was always there, oppressive, often snide, sometimes hostile, seldom violent. It was in the air and one sensed it at all levels, in school, at work and in society. A Jew was an outsider, a threat to the country's culture. Born inAustria-Hungary (nowPoland), and raised as an Austrian, he would still never truly belong.
Zinnemann was born inRzeszów (then part of the Austrian Empire),[1][2][4][5] the son of Anna (Feiwel) and Oskar Zinnemann, a doctor.[6][7] His parents wereAustrian Jews.[8][9] He had one younger brother.
Zinnemann grew up inVienna during theFirst World War, during much of which his father was serving as a combat medic with theAustro-Hungarian Army on theEastern Front. Zinnemann later recalled that his father wasseverely traumatized by his war experiences and often suffered from nightmares.[10]
While growing up in theFirst Austrian Republic, which had been formed as arump state of a fallen Empire in 1918 and which he later described as, "a tiny, defeated, impoverished country",[11] Zinnemann wanted to become a musician, but went on to graduate with a law degree from theUniversity of Vienna in 1927.[8]
While studying law, he became drawn to films and convinced his parents to let him study film production in theThird French Republic. After studying for a year at theEcole Technique de Photographie et Cinématographie in Paris, Zinnemann became acameraman and found work on a number of films being made atBabelsberg Studio in Berlin, during theWeimar Republic, before emigrating to the United States.[8] Both of Zinnemann's parents, whom he later described as nostalgic for the days of theHabsburg Monarchy, came back toPoland afterAnschluss where later they were murdered by Germans during theHolocaust. Up until their death Zinnemann was exchanging letters with them, all written in Polish.[12]: 86
Zinnemann worked inGermany with several other beginners (Billy Wilder andRobert Siodmak also worked with him on the 1929 featurePeople on Sunday) after he studied filmmaking in France. His penchant for realism and authenticity is evident in his first featureThe Wave (1936), shot on location in Mexico with mostly non-professional actors recruited among the locals, which is one of the earliest examples ofsocial realism in narrative film. Earlier in the decade, in fact, Zinnemann had worked with documentarianRobert Flaherty, "probably the greatest single influence on my work as a filmmaker", he said.[8]
Although he was fascinated by the artistic culture of Germany, with its theater, music and films, he was also aware that the country was in a deep economic crisis. He became disenchanted with Berlin after continually seeing decadent ostentation and luxury existing alongside desperate unemployment. The wealthy classes were moving more to the political right and the poor to the left. "Emotion had long since begun to displace reason," he said.[3]: 16 As a result of the changing political climate, along with the fact thatsound films had arrived in Europe, which was technically unprepared to produce their own, film production throughout Europe slowed dramatically. Zinnemann, then only 21, got his parents' permission to go to America where he hoped filmmaking opportunities would be greater.[3]: 16
He arrived in New York at the end of October 1929, at the time of thestock market crash. Despite the financial panic then beginning, he found New York to be a different cultural environment:[3]: 17
New York was a terrific experience, full of excitement, with a vitality and pace then totally lacking in Europe. It was as though I had just left a continent of zombies and entered a place humming with incredible energy and power.[3]: 17
Shortly after, he took a Greyhound bus to Hollywood. One of Zinnemann's first jobs in Hollywood was as anextra inAll Quiet on the Western Front (1930). He said that many of the other extras were formerRussian aristocrats and high-ranking officers who fled to America as refugees from theOctober Revolution in 1917 and the ensuingRed Terror.[3]: 23
He was twenty-two but he said he felt older than the forty-year-olds in Hollywood. But he was jubilant because he was then certain that "this was the place one could breathe free and belong."[3]: 18 But after a few years he became disillusioned with the limited talents of Hollywood's elites. His first directorial effort was the Mexican cultural protest film,The Wave, in Alvarado, Mexico. He established residence in North Hollywood withHenwar Rodakiewicz,Gunther von Fritsch andNed Scott, all fellow contributors to the Mexican project.[13]
After some directing success with some short films, he graduated to features in 1942, turning out two B mysteries,Kid Glove Killer andEyes in the Night before getting his big break withThe Seventh Cross (1944), starringSpencer Tracy, which became his first hit. The film was based onAnna Seghers' novel and, while filmed entirely on theMGMbacklot, made realistic use of refugee German actors in even the smallest roles. The central character—an escaped prisoner played by Tracy—is seen as comparatively passive and fatalistic. He is, however, the subject of heroic assistance from anti-Nazi Germans. In a sense, the most dynamic character of the film is not the Tracy character but a humble German worker played byHume Cronyn, who changes from Nazi sympathizer to active opponent of the regime as he aids Tracy.
After World War II, Zinnemann learned that both of his parents had been murdered in theHolocaust.[12]: 86 He was frustrated by his studio contract, which dictated that he did not have a choice in directing films likeLittle Mister Jim (1946) andMy Brother Talks to Horses (1947) despite his lack of interest in their subject matter.[14] However, his next film,The Search (1948), won an Oscar for screenwriting and secured his position in the Hollywood establishment. Shot in war-ravaged Germany, the film starsMontgomery Clift in his screen debut as aGI who cares for a lost Czech boy traumatized by the war. It was followed byAct of Violence (1948), a grittyfilm noir starringVan Heflin as a haunted POW,Robert Ryan as his hot-tempered former friend,Janet Leigh as Heflin's wife, andMary Astor as a sympathetic prostitute. Zinnemann consideredAct of Violence the first project in which he "felt comfortable knowing exactly what I wanted and exactly how to get it."[14]
The Men (1950) starsMarlon Brando as aparaplegic war veteran. It was Brando's first film. Zinnemann filmed many scenes in a California hospital where real patients served as extras. It was followed byTeresa (1951), starringPier Angeli.
Perhaps Zinnemann's best-known work isHigh Noon (1952), one of the first 25 American films chosen in 1989 for theNational Film Registry. With its psychological and moral examinations of its lawman hero Marshall Will Kane, played byGary Cooper and its innovative chronology whereby screen time approximated the 80-minute countdown to the confrontational hour, the film broke the mold of the formulaic western. Working closely with cinematographer and longtime friendFloyd Crosby, he shot without filters, giving the landscape a harsh "newsreel" quality that clashed with the more painterly cinematography of John Ford's westerns.[15] During production he established a strong rapport withGary Cooper, photographing the aging actor in many tight close-ups which showed him sweating, and at one point, even crying on screen.
ScreenwriterCarl Foreman apparently intendedHigh Noon to be an allegory of SenatorJoseph McCarthy's vendetta against alleged Communists. However, Zinnemann disagreed, insisting, late in life, that the issues in the film, for him, were broader, and were more about conscience and independent, uncompromising fearlessness. He says, "High Noon is "not a Western, as far as I'm concerned; it just happens to be set in the Old West."
Film criticStephen Prince suggests that the character of Kane actually represents Zinnemann, who tried to create an atmosphere of impending threat on the horizon, a fear of potential "fascism", represented by the gang of killers soon arriving. Zinnemann explained the general context for many of his films: "One of the crucial things today [is] trying to preserve our civilization."[12]: 86
Prince adds that Zinnemann, having learned that both his parents were murdered in the Holocaust, wanted Kane willing to "fight rather than run", unlike everyone else in town. As a result, "Zinnemann allies himself" with the film's hero.[12]: 86 Zinnemann explains the theme of the film and its relevance to modern times:
I saw it as a great movie yarn, full of enormously interesting people ... only later did it dawn on me that this wasnot a regular Western myth. There was something timely – and timeless – about it, something that had a direct bearing on life today. To me it was the story of a man who must make a decision according to his conscience. His town – symbol of a democracy gone soft – faces a horrendous threat to its people's way of life. Determined to resist, and in deep trouble, he moves all over the place looking for support but finding that there is nobody who will help him; each has a reason of his own for not getting involved. In the end, he must meet his chosen fate all by himself, his town's doors and windows firmly locked against him. It is a story that still happens everywhere, every day.[3]: 96–97
For his screen adaptation of the playThe Member of the Wedding (1952), Zinnemann choseJulie Harris as the film's 12-year-oldprotagonist, although she was by then 26 years old. Two years earlier Harris had created the role on Broadway just as the two other leading actors,Ethel Waters andBrandon deWilde, had.[16]
Zinnemann's next film,From Here to Eternity (1953), based on the novel byJames Jones, was nominated for 13Academy Awards and would go on to win 8, including Best Picture and Best Director. Zinnemann fought hard with producerHarry Cohn to castMontgomery Clift as the character of Prewitt, althoughFrank Sinatra, who was at the lowest point of his popularity, cast himself in the role of "Maggio" against Zinnemann's wishes.[17] Sinatra would later win an Oscar for Best Supporting Actor.From Here to Eternity also featuredDeborah Kerr, best known for prim and proper roles, as a philandering Army wife.Donna Reed played the role of Alma "Lorene" Burke, a prostitute and mistress of Montgomery Clift's character which earned her an Academy Award for Best Supporting Actress for 1953.
InOklahoma! (1955), Zinnemann's version of theRodgers andHammerstein musical, the wide screen formatTodd-AO made its debut, as did the film's young star,Shirley Jones. It was also an expression of Zinnemann's continued faith and optimism about America, with its energy and exuberance.[12]: 3
His next film wasA Hatful of Rain (1957), starringDon Murray,Eva Marie Saint andAnthony Franciosa, and was based on the play byMichael V. Gazzo. It is a drama story about a young married man with a secret morphine addiction who tries to quit and suffers through painful withdrawal symptoms. The film was a risk for Zinnemann, since movie depictions of drug addiction and withdrawal were rare in the 1950s.[12]: 3
Zinnemann rounded out the 1950s withThe Nun's Story (1959), castingAudrey Hepburn in the role of Sister Luke, a nun who eventually gives up the religious life to join the Belgian resistance in theSecond World War. Based on a popular novel byKathryn Hulme (inspired by the experiences ofMarie Louise Habets), the film depicts a young woman's struggles with convent life in Belgium and the Congo. Hepburn, who gave up the chance to playAnne Frank in order to work onThe Nun's Story, considered the film to be her best and most personal work. Zinnemann's style of cutting from close-up to close-up was heavily influenced by Carl Theodor Dreyer'sThe Passion of Joan of Arc (1928), his favorite film. He was grateful that Hepburn was easy to work with:
I have never seen anyone more disciplined, more gracious or more dedicated to her work than Audrey. There was no ego, no asking for extra favors; there was the greatest consideration for her co-workers.[3]: 166
The Sundowners (1960), starringRobert Mitchum andDeborah Kerr as anAustralian outback husband and wife, led to more Academy Award nominations, including Best Picture, Best Director, Best Screenplay, Best Actress (Kerr) and Best Supporting Actress (Glynis Johns), but won none.Behold A Pale Horse (1964) was a post-Spanish Civil War epic based on the bookKilling a Mouse on Sunday byEmeric Pressburger and starredGregory Peck,Anthony Quinn andOmar Sharif, but was both a critical and commercial flop; Zinnemann would later admit that the film "didn't really come together."[18]
In 1965 he was a member of the jury at the4th Moscow International Film Festival.[19]
Zinnemann's fortunes changed once again withA Man for All Seasons (1966), scripted byRobert Bolt from his own play and starringPaul Scofield asSir Thomas More, portraying him as a man driven by conscience to his ultimate fate. The film went on to win six Academy Awards, including Best Picture, Best Actor (Scofield) and Best Director, Zinnemann's second such Oscar to date. The film was also entered into the5th Moscow International Film Festival.[20]
After this, Zinnemann was all set to direct an adaptation ofMan's Fate forMGM. However, the project was shut down in 1969, and the studio attempted to hold Zinnemann responsible for at least $1 million of the $3.5 million that had already been spent on pre-production. In protest, Zinnemann filed a lawsuit against the studio, and it would be four years before he would make his next film.[21]
By the early 1970s, Zinnemann had been out of work since the cancellation ofMan's Fate; he believed it had "marked the end of an era in picture making and the dawn of a new one, when lawyers and accountants began to replace showmen as head of the studios and when a handshake was a handshake no longer."[21] However,Universal then offered him the chance to directThe Day of the Jackal (1973), based on the best-selling suspense novel byFrederick Forsyth. The film starredEdward Fox as an English assassin hired to kill French presidentCharles de Gaulle, andMichael Lonsdale as the French detective charged with stopping him. Zinnemann was intrigued by the opportunity to direct a film in which the audience would already be able to guess the ending (the Jackal failing his mission), and was pleased when it ultimately became a hit with the public.[22]
The Day of the Jackal was followed four years later byJulia (1977), based on a story in the bookPentimento: A Book of Portraits byLillian Hellman. The film starredJane Fonda as a young Hellman andVanessa Redgrave as her best friend Julia, an Americanheiress who forsakes the safety and comfort of both her homeland and great wealth to devote her life with fatal consequences to theAustrian Resistance toNazism. The film was nominated for eleven Academy Awards and won three, for Best Screenplay (Alvin Sargent), Best Supporting Actor (Jason Robards), and Best Supporting Actress (Vanessa Redgrave); Zinnemann thought that Fonda's acting was extraordinary enough to merit consideration for an award as well.[3]: 226
Zinnemann's final film wasFive Days One Summer (1982), filmed inSwitzerland and based on the short storyMaiden, Maiden byKay Boyle. It starredSean Connery andBetsy Brantley as a "couple" vacationing in theAlps in the 1930s, and a youngLambert Wilson as a mountain-climbing guide who grows heavily suspicious of their relationship. The film was both a critical and commercial flop, although Zinnemann would be told by various critics in later years that they considered it an underrated achievement.[23] Zinnemann blamed the film's critical and commercial failure for his retirement from filmmaking: "I'm not saying it was a good picture. But there was a degree of viciousness in the reviews. The pleasure some people took in tearing down the film really hurt."[24]
Zinnemann is often regarded as striking a blow againstageism in Hollywood.[by whom?][25] The apocryphal story goes that in the 1980s, during a meeting with a young Hollywood executive, Zinnemann was surprised to find the executive didn't know who he was, despite having won four Academy Awards, and directing many of Hollywood's biggest films. When the young executive asked Zinnemann to list what he had done in his career, Zinnemann reportedly answered, "Sure. You first." In Hollywood, the story is known as "You First," and is often alluded to when veteran creators find that upstarts are unfamiliar with their work.[26]
Zinnemann insisted, "I've been trying to disown that story for years. It seems to me Billy Wilder told it to me about himself."[27]
Zinnemann died of a heart attack in London, England on March 14, 1997.[28] He was 89 years old. Zinneman's remains were cremated atKensal Green Cemetery and the cremated remains were collected from the cemetery. His wife,Renee Bartlett died on December 18, 1997.[29]
His films are characterized by an unshakable belief in human dignity; a realist aesthetic; a preoccupation with moral and social issues; a warm and sympathetic treatment of character; an expert handling of actors; a meticulous attention to detail; consummate technical artistry; poetic restraint; and deliberately open endings.
Zinnemann's training in documentary filmmaking and his personal background contributed to his style as a "social realist." With his early films between 1937 and 1942 he began using that technique, and withHigh Noon in 1952, possibly his finest film, he created the tense atmosphere by coordinating screen time with real time.[8]
Because he started his film career as a cameraman, his movies are strongly oriented toward the visual aspects. He also said that regardless of the size of an actor's part, he spends much time discussing the roles with each actor separately and in depth. "In this way we make sure long before the filming starts that we are on the same wavelength," he says.[3]: 223
Zinnemann's films are mostly dramas about lone and principled individuals tested by tragic events, includingHigh Noon (1952),From Here to Eternity (1953);The Nun's Story (1959);A Man For All Seasons (1966); andJulia (1977). Regarded as a consummate craftsman, Zinnemann traditionally endowed his work with meticulous attention to detail to create realism, and had an intuitive gift for casting and a preoccupation with the moral dilemmas of his characters. His philosophy about directing influenced directorAlan Parker:
My mentor was the great director, Fred Zinnemann, whom I used to show all my films to until he died. He said something to me that I always try to keep in my head every time I decide on what film to do next. He told me that making a film was a great privilege, and you should never waste it.[30]
InFrom Here to Eternity, for example, he effectively added actual newsreel footage of the Japanese attack on Pearl Harbor, which enhanced and dramatized the story. Similarly, inA Hatful of Rain, he used a documentary style to present real life drug addiction in New York City. Zinnemann again incorporated newsreel footage inBehold a Pale Horse, about the Spanish Civil War.The Day of the Jackal, a political thriller about an attempt to assassinateCharles de Gaulle, was shot on location in newsreel style, whileJulia placed the characters in authentic settings, as in a suspenseful train journey from Paris to Moscow during World War II.[8] According to one historian, Zinnemann's style "demonstrates the director's sense of psychological realism and his apparent determination to make worthwhile pictures that are nevertheless highly entertaining."[8]
| Year | Title | Director | Writer |
|---|---|---|---|
| 1936 | Redes | Yes | No |
| 1942 | Kid Glove Killer | Yes | No |
| Eyes in the Night | Yes | No | |
| 1944 | The Seventh Cross | Yes | No |
| 1946 | Little Mister Jim | Yes | No |
| 1947 | My Brother Talks to Horses | Yes | No |
| 1948 | The Search | Yes | No |
| 1949 | Act of Violence | Yes | No |
| 1950 | The Men | Yes | No |
| 1951 | Teresa | Yes | No |
| 1952 | High Noon | Yes | No |
| The Member of the Wedding | Yes | No | |
| 1953 | From Here to Eternity | Yes | No |
| 1955 | Oklahoma! | Yes | No |
| 1957 | A Hatful of Rain | Yes | No |
| 1959 | The Nun's Story | Yes | Uncredited |
| 1960 | The Sundowners | Yes | No |
| 1964 | Behold a Pale Horse | Yes | Uncredited |
| 1966 | A Man For All Seasons | Yes | Yes |
| 1973 | The Day of the Jackal | Yes | No |
| 1977 | Julia | Yes | No |
| 1982 | Five Days One Summer | Yes | Yes |
| Year | Film | Oscar nominations | Oscar wins |
|---|---|---|---|
| 1937 | Friend Indeed | ||
| 1938 | They Live Again | ||
| That Mothers Might Live | 1 | 1 | |
| The Story of Doctor Carver | |||
| 1939 | Weather Wizards | ||
| While America Sleeps | |||
| Help Wanted | |||
| One Against the World | |||
| The Ash Can Fleet | |||
| Forgotten Victory | |||
| 1940 | Stuffie | ||
| The Great Meddler | |||
| The Old South | |||
| A Way in the Wilderness | |||
| 1941 | Forbidden Passage | 1 | |
| Your Last Act | |||
| 1942 | The Greenie | ||
| The Lady or the Tiger? | |||
| 1951 | Benjy (documentary) | 1 | 1 |
| Year | Title | Replaced by | Ref. |
|---|---|---|---|
| 1943 | Marriage Is a Private Affair | Robert Z. Leonard | [31] |
| 1944 | The Clock | Vincente Minnelli | [32] |
| 1951 | His Majesty O'Keefe | Byron Haskin | [33] |
| 1952 | The Young Lions | Edward Dmytryk | [34] |
| 1955 | The Old Man and the Sea | John Sturges | [35] |
| 1964 | Birch Interval | Delbert Mann | [36] |
| Hawaii | George Roy Hill | [37] | |
| Who's Afraid of Virginia Woolf? | Mike Nichols | [38] | |
| 1965 | The Day Custer Fell | — | [39] |
| 1968 | The Dybbuk | — | [40] |
| 1969 | Man's Fate | — | |
| 1970 | Casualties of War | Brian De Palma | [41] |
| 1972 | Abelard and Heloise | — | [42] |
| 1975 | The French Lieutenant's Woman | Karel Reisz | [43] |
Over the course of Zinnemann's career he has received fourAcademy Awards, twoBAFTA Awards, and twoGolden Globe Awards.[8]
| Year | Picture | Oscars | BAFTAs | Golden Globes | |||
|---|---|---|---|---|---|---|---|
| Nominations | Wins | Nominations | Wins | Nominations | Wins | ||
| 1944 | The Seventh Cross | 1 | |||||
| 1948 | The Search | 4 | 1 | 1 | 1 | ||
| 1950 | The Men | 1 | 1 | ||||
| 1951 | Teresa | 1 | 1 | 1 | |||
| 1952 | High Noon | 7 | 4 | 7 | 4 | ||
| The Member of the Wedding | 1 | ||||||
| 1953 | From Here to Eternity | 13 | 8 | 1 | 2 | 2 | |
| 1955 | Oklahoma! | 4 | 2 | ||||
| 1957 | A Hatful of Rain | 1 | 1 | 3 | |||
| 1959 | The Nun's Story | 8 | 5 | 1 | 5 | ||
| 1960 | The Sundowners | 5 | 3 | 1 | |||
| 1966 | A Man for All Seasons | 8 | 6 | 7 | 7 | 5 | 4 |
| 1973 | The Day of the Jackal | 1 | 7 | 1 | 3 | ||
| 1977 | Julia | 11 | 3 | 10 | 4 | 7 | 2 |
| Total | 66 | 24 | 36 | 14 | 34 | 13 | |
| Year | Performer | Picture | Result |
|---|---|---|---|
| Best Actor | |||
| 1949 | Montgomery Clift | The Search | Nominated |
| 1953 | Gary Cooper | High Noon | Won |
| 1954 | Montgomery Clift | From Here to Eternity | Nominated |
| Burt Lancaster | Nominated | ||
| 1958 | Anthony Franciosa | A Hatful of Rain | Nominated |
| 1967 | Paul Scofield | A Man for All Seasons | Won |
| Best Actress | |||
| 1953 | Julie Harris | The Member of the Wedding | Nominated |
| 1954 | Deborah Kerr | From Here to Eternity | Nominated |
| 1960 | Audrey Hepburn | The Nun's Story | Nominated |
| 1961 | Deborah Kerr | The Sundowners | Nominated |
| 1978 | Jane Fonda | Julia | Nominated |
| Best Supporting Actor | |||
| 1945 | Hume Cronyn | The Seventh Cross | Nominated |
| 1954 | Frank Sinatra | From Here to Eternity | Won |
| 1967 | Robert Shaw | A Man for All Seasons | Nominated |
| 1978 | Jason Robards | Julia | Won |
| Maximillian Schell | Nominated | ||
| Best Supporting Actress | |||
| 1954 | Donna Reed | From Here to Eternity | Won |
| 1961 | Glynis Johns | The Sundowners | Nominated |
| 1967 | Wendy Hiller | A Man for All Seasons | Nominated |
| 1978 | Vanessa Redgrave | Julia | Won |
