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With the aid of some 400 photographs, the great film director, now 85, recalls 50 years of film-making and more than 20 major films, including High Noon, From Here to Eternity, Oklahoma!, A Man for All Seasons, The Day of the Jackal, Julia, and The Nun's Story. Annotation copyright Book News, Inc. Portland, Or.

Director Fred Zinnemann was one of the most honored and revered directors of Hollywood's golden age. Peter Ustinov said, "Working with him was a permanent lesson in integrity." Zinnemann will always be remembered for such award-winning classics as High Noon, From Here to Eternity and A Man for All Seasons, and for his direction of such stars as Marlon Brando, Montgomery Clift, Rod Steiger, Spencer Tracy, Gary Cooper, Burt Lancaster, Audrey Hepburn, Robert Mitchum, Jane Fonda, Meryl Streep and Sean Connery. Above all, he deserves to be appreciated for raising the intelligence of popular cinema, making individualist dramas of conscience that could appeal to mass audiences without condescending to them and without compromising the director's vision. This book, the first single-author survey of Zinnemann's career, draws on the author's personal interviews with Zinnemann and reveals the coherence and subtlety of the director's work. The first part of the book deals with Zinnemann's struggle to make films of his own choosing in his own way, up to his breakthrough with The Search. The remainder of the text discusses Zinnemann's post-Search films according to major themes, including the ravages of war, the "sovereignty of selfhood," character as destiny, the outsider in society, and politics and the liberal conscience. A list of Zinnemann's awards is provided.

Director Fred Zinnemann was one of the most honored and revered directors of Hollywood's golden age. Peter Ustinov said, "Working with him was a permanent lesson in integrity." Zinnemann will always be remembered for such award-winning classics as High Noon, From Here to Eternity and A Man for All Seasons, and for his direction of such stars as Marlon Brando, Montgomery Clift, Rod Steiger, Spencer Tracy, Gary Cooper, Burt Lancaster, Audrey Hepburn, Robert Mitchum, Jane Fonda, Meryl Streep and Sean Connery. Above all, he deserves to be appreciated for raising the intelligence of popular cinema, making individualist dramas of conscience that could appeal to mass audiences without condescending to them and without compromising the director's vision. This book, the first single-author survey of Zinnemann's career, draws on the author's personal interviews with Zinnemann and reveals the coherence and subtlety of the director's work. The first part of the book deals with Zinnemann's struggle to make films of his own choosing in his own way, up to his breakthrough with The Search. The remainder of the text discusses Zinnemann's post-Search films according to major themes, including the ravages of war, the "sovereignty of selfhood," character as destiny, the outsider in society, and politics and the liberal conscience. A list of Zinnemann's awards is provided.

Fred Zinnemann (1907-1997) was one of Hollywood's most honored directors. In a career that spanned fifty years, he won four Academy Awards and directed such classic movies as From Here to Eternity, A Man for All Seasons, The Day of the Jackal, and High Noon. Covering thirty-three years of conversations (1964-1997), Fred Zinnemann: Interviews provides a revealing glimpse into the director's vision as he discusses in his cultivated, elegant voice his varied experiences as a filmmaker. He defends himself against charges that his films are too objective or unemotional. He reminisces about his experiences with independent director Robert Flaherty and his early years in the American studios and recounts his disappointment and frustration over his abortive attempt to film Man's Fate. Filled with intelligent commentary and recollections about all of his important work, the interviews disclose an artist committed to his craft, his vision, and the human enterprise. Despite the range of genres in which he worked-the western, the musical, film noir, and the "social problem" film-Zinnemann was aesthetically committed to social realism. Due in part to his training under Flaherty and his upbringing in Austria, where he witnessed firsthand the rise of fascism, Zinnemann was always drawn to stories that highlighted the testing of conscience in people caught up in a historical moment. World War II provided the backdrop to much of his work. As he put it, "I have always been concerned with the problem of the individual who struggles to preserve personal integrity and self-respect." Gabriel Miller is a professor of English at Rutgers University, Newark, and has written several other books on film and theater.

Fred Zinnemann (1907-1997) was one of Hollywood's most honored directors. In a career that spanned fifty years, he won four Academy Awards and directed such classic movies as From Here to Eternity, A Man for All Seasons, The Day of the Jackal, and High Noon. Covering thirty-three years of conversations (1964-1997), Fred Zinnemann: Interviews provides a revealing glimpse into the director's vision as he discusses in his cultivated, elegant voice his varied experiences as a filmmaker. He defends himself against charges that his films are too objective or unemotional. He reminisces about his experiences with independent director Robert Flaherty and his early years in the American studios and recounts his disappointment and frustration over his abortive attempt to film Man's Fate. Filled with intelligent commentary and recollections about all of his important work, the interviews disclose an artist committed to his craft, his vision, and the human enterprise. Despite the range of genres in which he worked-the western, the musical, film noir, and the "social problem" film-Zinnemann was aesthetically committed to social realism. Due in part to his training under Flaherty and his upbringing in Austria, where he witnessed firsthand the rise of fascism, Zinnemann was always drawn to stories that highlighted the testing of conscience in people caught up in a historical moment. World War II provided the backdrop to much of his work. As he put it, "I have always been concerned with the problem of the individual who struggles to preserve personal integrity and self-respect." Gabriel Miller is a professor of English at Rutgers University, Newark, and has written several other books on film and theater.

The myth and poetry of the old west come alive in Fred Zinnemann's classic western, High Noon (1952) One of the great treasures of the American cinema, the film stars the legendary Gary Cooper as lawman Will Kane, a marshal who stands alone to defend a town of cowardly citizens againsts a gang of killers out for revenge

Edgar G. Ulmer is perhaps best known today for Detour, considered by many to be the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of his fellow Austrian and German émigré directors―Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak. Despite early work with Max Reinhardt and F. W. Murnau, his auspicious debut with Siodmak on their celebrated Weimar classic People on Sunday, and the success of films like Detour and Ruthless, Ulmer spent most of his career as an itinerant filmmaker earning modest paychecks for films that have either been overlooked or forgotten. In this fascinating and well-researched account of a career spent on the margins of Hollywood, Noah Isenberg provides the little-known details of Ulmer’s personal life and a thorough analysis of his wide-ranging, eclectic films―features aimed at minority audiences, horror and sci-fi flicks, genre pictures made in the U.S. and abroad. Isenberg shows that Ulmer’s unconventional path was in many ways more typical than that of his more famous colleagues. As he follows the twists and turns of Ulmer’s fortunes, Isenberg also conveys a new understanding of low-budget filmmaking in the studio era and beyond.  

In 1971, Frederick Forsythe shot to bestseller status with his debut novel, The Day of the Jackal - taut, utterly plausible, almost documentarian in its realism and attention to detail. Two years later, director Fred Zinnemann (High Noon) turned a gripping novel into a nail-biting cinematic experience. August 1962: the latest attempt on the life of French President Charles de Gaulle by the far-right paramilitary organization, the OAS, ends in chaos, with its architect-in-chief dead at the hands

Edgar G. Ulmer is perhaps best known today for Detour, considered by many to be the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of his fellow Austrian and German émigré directors―Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak. Despite early work with Max Reinhardt and F. W. Murnau, his auspicious debut with Siodmak on their celebrated Weimar classic People on Sunday, and the success of films like Detour and Ruthless, Ulmer spent most of his career as an itinerant filmmaker earning modest paychecks for films that have either been overlooked or forgotten. In this fascinating and well-researched account of a career spent on the margins of Hollywood, Noah Isenberg provides the little-known details of Ulmer’s personal life and a thorough analysis of his wide-ranging, eclectic films―features aimed at minority audiences, horror and sci-fi flicks, genre pictures made in the U.S. and abroad. Isenberg shows that Ulmer’s unconventional path was in many ways more typical than that of his more famous colleagues. As he follows the twists and turns of Ulmer’s fortunes, Isenberg also conveys a new understanding of low-budget filmmaking in the studio era and beyond.  

The myth and poetry of the old west come alive in Fred Zinnemanns (Julia) classic western, High Noon (1952). One of the great treasures of the American cinema, the film stars the legendary Gary Cooper as lawman Will Kane, a marshal who stands alone to defend a town of cowardly citizen against a gang of killers out for revenge.

Sean Connery stars in this haunting tale of love and obsession directed by Fred Zinnemann. Arriving at a Swiss chalet for a mountain-climbing vacation, middle-aged doctor, Douglas Meredith (Connery), is accompanied by Kate (Betsy Brantley), a young woman posing as his wife. Although he's married to another, Douglas refuses to break it off with Kate, even though the affair would bring them shame if exposed. Things come to a head, however, when their guide (Lambert Wilson) finds himself attracted

Celebrated director Fred Zinnemann (High Noon, From Here to Eternity) delves into territories pioneered by the postwar Italian neorealists for this tale of a traumatized GI (John Ericson) and his Italian war bride (Pier Angeli, in her American film debut). Careening between crisis points in the life of Philip Cass (Ericson), Zinnemann unspools Philips war story through his counseling with Frank (Rod Steiger), his Veterans Affairs officer. Young Philip is not well-prepared for the life of a troop