Fred Zinnemann Movies

The purpose of this PBS documentary is to show that the true villains of the Hollywood Blacklist were not always "evil" politicians and fat-cat studio moguls. Filmmaker Lionel Chetwynd (ironically a lifelong staunch conservative) has chosen his mentor, screenwriter Carl Foreman, as the hero of the piece. The narrative focuses on 1952, the year that Foreman wrote the script for the classic Western High Noon. Even as his film is being lauded by the critics and the public alike as a masterpiece, the politically "dangerous" Foreman cannot find work in Hollywood, and the State Department is endeavoring to seize his passport. It is hurtful enough that old friends shun him, out of fear that they too will be "tainted"; but when even Stanley Kramer, the self-avowed liberal producer of High Noon, turns his back on Foreman, it is too much to bear. Chetwynd's teleplay is based upon an impassioned letter written by Foreman to influential film critic Bosley Crowther -- a desperate effort on the part of the screenwriter to state his case before the public, and, as it turns out, a futile gesture. At the time of its original telecast in September 2002, Darkness at High Noon: The Carl Foreman Documents incurred the wrath of Stanley Kramer's widow, Karen Sharpe Kramer, who insisted that her late husband was being unfairly maligned; thus it was that Chetwynd was forced to add a disclaimer to the document, begrudgingly stating that his thesis was merely "one version of the story." ~ Hal Erickson, Rovi

Fred Zinnemann's final film is a meditative examination of an illicit May-December romance, set in the mountain expanse of the Swiss Alps. Sean Connery plays Douglas, a middle-aged Scottish doctor on vacation in the Alps in 1932 with a beautiful and fresh-faced young woman, Kate (Betsy Brantley), whom he introduces as his wife. Douglas has taken Kate to the Alps to introduce her to the invigorating sport of mountain climbing. When Douglas and Kate arrive at the mountain lodge, their happiness is tempered by a knowing melancholy. Through flashbacks, it is revealed that Kate has been madly in love with Douglas since she was a little girl and that she seduced him away from another woman. The flashbacks also reveal that Kate is not his wife, but his niece. But then, in their mountain retreat, young and handsome guide Johann (Lambert Wilson) makes an entrance. Johann immediately develops an attraction for Kate. Now Kate has to worry if the feeling is mutual. ~ Paul Brenner, Rovi

In this involving political thriller, a secret French paramilitary organization plans to assassinate French President Charles De Gaulle (Adrien Cayla-Legrand) because of their disagreement with his policies during the Algerian War. They hire a professional killer, known only as "The Jackal" (Edward Fox). The police learn of the plot from an informer, and police investigator Lebel (Michel Lonsdale) cleverly pieces together the clues to the Jackal's identity. The complicated plot uses parallel editing to cross-cut between the details of the Jackal's preparations for the assassination and Lebel's efforts to find him before it is too late. Fred Zinnemann presents the story, faithfully adapted from the book by Frederick Forsyth, with precise, dramatic flair. Edward Fox is coldly alluring as the Jackal. Well acted and directed, Day of the Jackal is a tense and engrossing political thriller with a surprising ending. ~ Linda Rasmussen, Rovi

Adapted by Robert Bolt and Constance Willis from Bolt's hit stage play, A Man for All Seasons stars Paul Scofield, triumphantly repeating his stage role as Sir Thomas More. The crux of the film is the staunchly Catholic More's refusal to acknowledge King Henry VIII (Robert Shaw)'s break from the church to divorce his first wife and marry Anne Boleyn (an unbilled Vanessa Redgrave). Sir Thomas willingly goes to the chopping block rather than sacrifice his ideals. Director Fred Zinnemann retains the play's verbosity without sacrificing the film's strong sense of visuals. The impeccably chosen cast includes Wendy Hiller as Sir Thomas' likably contentious wife Alice, John Hurt as the deceitful Richard Rich (More's put-downs of this despicable character provide some of the film's biggest laughs), Orson Welles as a dour Cardinal Woolsey, Leo McKern as the ambitious Thomas Cromwell, and Susannah York as More's daughter Margaret. The "Common Man," an important bridging-the-scenes character in the original play, is removed from the film version, which does just fine without him. A Man for All Seasons won six Oscars, including Best Picture, Best Director, and Best Actor, as well as seven British Film Academy awards. ~ Hal Erickson, Rovi

Director Fred Zinnemann was riding a crest in the '50s with movies like High Noon, From Here to Eternity, Oklahoma, and his success continues in this western-style drama set in Australia in the 1920s. Ida Carmody (Deborah Kerr) is married to Paddy (Robert Mitchum), a sheep drover whose nomadic existence makes him blissfully content. Neither Ida nor their son Sean share his love for roaming, in fact, Ida convinces her husband to take on a job as a sheep-shearer so they can finally have enough to get a mortgage on a farm. At first Paddy agrees but obviously does not know his own mind because in no time at all, he rebels -- though that is not the end of it. Peter Ustinov is also featured as Vanneker, a bachelor who comes to stay with the family, and Glynis Johns plays a hotelkeeper out to change Vanneker's non-marital status. ~ Eleanor Mannikka, Rovi

A Hatful of Rain, based on the stage play by Michael V. Gazzo, is the story of a drug addict's debilitating effect on his family. Don Murray has managed to keep his addiction secret from his pregnant wife Eva Marie Saint and his boorish father Lloyd Nolan, but Murray's brother Anthony Franciosa knows the truth. Murray hits up Franciosa for money to support his habit, but even this is not enough as the addiction deepens and Murray finds himself beholden to a vicious pusher (Henry Silva). Murray is unable to cope with his private hell until he confesses to his wife and father that he's a junkie and needs help. Considered the last word in realism in 1957, A Hatful of Rain seems slightly antiquated in the light of the drug-abuse excesses of the 1990s. ~ Hal Erickson, Rovi

Rodgers and Hammerstein's 1943 Broadway musical was considered revolutionary for a multitude of reasons, not least of which were the play's intricate integration of song and storyline, and the simplicity and austerity of its production design. The 1955 film version of Oklahoma! retains the songs (except for Lonely Room and It's a Scandal!, which are usually cut from most stage presentations anyway) and the story, but the simplicity is sacrificed to the spectacle of Technicolor, Todd-AO, and Stereophonic Sound. The story can be boiled down to a single sentence: a girl must decide between the two suitors who want to take her to a social. In her movie debut, 19-year-old Shirley Jones plays Laurie, an Oklahoma farm gal who is courted by boisterous cowboy Curley (Gordon MacRae) and by menacing, obsessive farm hand Jud Frye (Rod Steiger). Fearing that Jud will do something terrible to Curley, Laurie accepts Jud's invitation to the box social. But it's Curley who rescues Laurie from Jud's unwanted advances, and in so doing wins her hand. On the eve of their wedding, Laurie and Curley are menaced by the drunken Jud. During a fight with Curley, Jud falls on his own knife and is killed (this sudden-death motif was curiously commonplace in the Rodgers and Hammerstein ouevre). The local deputy insists that Curley be arrested and stand trial, but he is outvoted by Curley's friends, and the newlyweds are permitted to ride off on their honeymoon. Counterpointing the serious elements of the story is a comic subplot involving innocently promiscuous Ado Annie (Gloria Grahame), her erstwhile sweetheart Will Parker (Gene Nelson) and lascivious travelling salesman Ali Hakim (Eddie Albert). None of the Broadway cast of Oklahoma! was engaged for the film version, though Charlotte Greenwood is finally able to essay the role of Auntie Eller that had been written for her but she'd been unable to play back in 1943. The evergreen songs include Oh, What a Beautiful Mornin', Surrey with the Fringe on Top, People Will Say We're In Love, I Cain't Say No, and the rousing title song. Two versions of Oklahoma! currently exist: the Todd-AO version, filmed on 65-millimeter stock, and the simultaneously shot CinemaScope version, shipped out to the theaters not equipped for the wider-screen Todd-AO process. Both versions have been issued in "letterbox" form on laser disc, and the subtle differences in performance style and camera angles in each and every scene are quite fascinating. ~ Hal Erickson, Rovi

25-year-old Julie Harris convincingly recreates her Broadway role of 12-year-old tomboy Frankie Addams in the 1952 screen version of Carson McCullers' play. Feeling rejected when her older brother goes off on his honeymoon without inviting her along, Frankie runs away from her middle-class southern home. She endures several other adolescent traumas, not least of which is the sudden death of her bespectacled young cousin John Henry (Brandon De Wilde). With the help of warmhearted housekeeper Berenice Sadie Brown (Ethel Waters), Frankie eventually makes an awkward transition to young womanhood. One of several Stanley Kramer productions released by Columbia in the early 1950s, The Member of the Wedding wisely used several of the original Broadway cast members. Co-starring as a drunken soldier who tries to take advantage of the vulnerable Frankie is former child actor Dick Moore, making his last screen appearance. The Member of the Wedding was remade for television in 1983 (and unofficially "reworked" into the 1991 sleeper My Girl). ~ Hal Erickson, Rovi

Henry Fonda narrates this short documentary about a young child who was handicapped from birth. An orthopedic pediatrician believes he can successfully treat the youngster's maladies, but first he most convince the boy's parents, who have rejected the child, to accept him as their own. Benjy was a labor of love for director Fred Zinnemann and his crew, who took no payment for their work on the film and exhibited it as a fundraiser for pediatric hospitals in Los Angeles. Benjy received an Academy Award as Best Documentary Short Subject of 1951. ~ Mark Deming, Rovi

Fred Zinnemann's sensitive film on the plight of paraplegic WWII veterans features Marlon Brando in his superbly moving screen debut. He plays Lt. Bud Wilozek, one of a group of veterans recovering in the paraplegic ward of a hospital in his hometown. His former fiancée, Ellen (Theresa Wright), explains to his physician, Dr. Brock (Everett Sloane), her concern about his isolation and apparent depression since he has broken their engagment and refuses to see her. He counsels her to be patient, but when he decides to broach the issue with Bud, the embittered patient reacts angrily to the doctor's intrusiveness, and continues to refuse to see Ellen. The doctor cajoles the withdrawn paraplegic into the life of the ward, where fellow patients Richard Erdman, Jack Webb, and Arthur Jurado begin to pull Bud out of his spiritual miasma. At length, his sense of hope starts to return, and after seeing Ellen for the first time in months, he begins to contemplate the possibility of marriage. Zinnemann and screenwriter Carl Foreman spent a month in a veteran's hospital researching the film, and Brando lived in the paraplegic unit for a time as part of his preparation. ~ Michael Costello, Rovi

Although Montgomery Clift shot this film following Red River (1948), it was released six months earlier and the combined success of both immediately made him a star. The film, which was the first to be made in Europe after WWII with an American director and cast, was partially based on Europe's Children, a book of photographs by Therese Bonney documenting the orphans of the war. Shot in the American occupied zone of Germany, much of the film, the product of years of research, was based on actual incidents. It opens at the UN Relief and Rehabilitation Administration camp at which war orphans, who have been found wandering through bombed-out ruins, are given temporary housing. The severely traumatized children, many of whom are survivors of concentration camps whose parents are dead, find normal communication almost impossible. Karel Malik (Ivan Jandl), a young Czech boy, is one of these. His mother, Hanna (Jarmilia Novotna), lost contact with him when they were in Auschwitz and she now travels from one refugee camp to another in search of her son. While being transported in an ambulance, some of the children, including Karel, break out and scatter. American G.I. Ralph Stevenson Clift finds him wandering aimlessly, takes him back to his base to feed him, and begins to teach him English. ~ Michael Costello, Rovi

In later years, director Fred Zinneman seldom referred to My Brother Talks to Horses as one of his career highpoints. Even so, this leisurely period comedy has its moments, most of them delivered by precocious Jackie "Butch" Jenkins as the title character. Living with his family in Baltimore, 9-year-old Lewie Penrose (Jenkins) claims that he can converse with horses-and also pick the winners of upcoming races. When it appears as though Lewie is telling the truth, he attracts the interest of gambler Rich Roeder (Charles Ruggles), who needs a "sure thing" in the upcoming Preakness. Meanwhile, Lewie's older brother John (Peter Lawford) carries on a romance with the lovely Martha (Beverly Tyler). An unexpected tragedy slows down the film in the home stretch, but otherwise My Brother Talks to Horses is a pleasant second-echelon MGM production. ~ Hal Erickson, Rovi

Kid Glove Killer is an expanded remake of They're Always Caught (1938), a 2-reel entry in MGM's "Crime Does Not Pay" series. Van Heflin stars as criminologist Gordon McKay, at present investigating the murder of of reform mayor Daniels (Samuel S. Hinds). What the audience knows, but McKay doesn't, is that the the culprit is district attorney Gerald Ladimer (Lee Bowman), ostensibly a crusader against organized crime. Thickening the plot is the fact that McKay and Ladimer are rivals for the affections of McKay's pretty lab assistant Jane Mitchell (Marsha Hunt). The question: Will McKay be able to piece together the fragmentary clues in his forensic lab before Ladimer is able to strike again? An excellent example of MGM's "B" unit at the height of its powers, Kid Glove Killer served as the feature-film directorial debut of Fred Zinnemann, who obviously was destined for bigger things. ~ Hal Erickson, Rovi