Word: zinnemans
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Finally, the Best Director often wins more on reputation than result. Cecil B. DeMille, who was nominated for The Greatest Show On Earth-which was far from it-has long been The Grand Old Man of Hollywood Epics. But his work was not so forceful as that of Fred Zinneman in High Noon, nor so bold and imaginative as that of John Huston in Moulin Rouge. The question is: will the Academy continue to choose The Grand Old man of the Year, or will it get back to making honest appraisals of current work...
...direction of Fred Zinneman comes up to his high mark in The Search and The Men. He neither patronizes his Italian civilians, typecasts his G.I.s nor falsifies his combat scenes, which prove as taut as any fiction footage yet shot about World War II. But the picture gets into trouble after it gets back to the U.S. The hero's psychological troubles and diagnosis fall as patly into place as in a clinical report. When the script attempts to show him growing up emotionally in time for a hopeful ending, the change is so drastically telescoped and hastily motivated...
...delicate features and impressive sincerity made her the "discovery" of three different moviemakers in search of talent. The most recent, Teresa's Scripter Stewart Stern, came across her in Rome after she had made her first movie (Tomorrow Is Too Late) in Italy. After he met her, Director Zinneman thought "she was one of the few genuine film talents I have ever known...
...flaws are such minor ones as Dimitri Tiomkin's musical score, which is so overexcited that it sometimes gets in the way of the action. Director Fred (The Search) Zinneman's sensitive work clearly places him in the first rank of screen directors. The film is full of fine performances, especially by Actors Sloane and Webb and Actress Wright. Broadway's Marlon Brando, in his first movie appearance, does a magnificent job. His halting, mumbled delivery, glowering silences and expert simulation of paraplegia do not suggest acting at all; they look chillingly like the real thing...
...Director Zinneman first builds strong sympathy for Heflin as a prosperous, affectionate husband and father who works hard in postwar days to get housing for his fellow veterans. Then he takes a closer look at Ryan, the would-be killer. The picture's real shocker is that the audience has little choice between hunter and hunted. The edge, if any, belongs to the hunter. Plainly, Veteran Heflin can never live down the one fateful, irretrievable act that even stands between him and his wife (Janet Leigh). But Ryan has a chance to make a life for himself if only...