Editing Fred Zinnemann

{{Short description|American film director (1907–1997)}}
{{Use American English|date=June 2021}}
{{Use mdy dates|date=June 2021}}
{{Infobox person
| name               = Fred Zinnemann
| image              = Fred Zinnemann 1940s.jpg
| caption            = Zinnemann in the 1940s
| birth_name         = Alfred Zinnemann
| birth_date         = {{Birth date|1907|4|29}}
| birth_place        = [[Rzeszów]], [[Austria-Hungary]] {{small|(now [[Poland]])}}<ref name="rzenews">{{cite web |title=Fred Zinnemann will return to Rzeszów. In August for an extraordinary film festival |url=http://rzeszow-news.pl/fred-zinnemann-wroci-do-rzeszowa-w-sierpniu-na-niezwykly-filmowy-festiwal/ |website=rzeszow-news |date=July 12, 2018 |access-date=October 25, 2018}}</ref><ref name="forbes22">{{cite web |title=The Immigrant who Directed The American Classic High Noon |url=https://www.forbes.com/sites/stuartanderson/2018/09/07/the-immigrant-who-directed-the-american-classic-high-noon/ |work=Forbes |access-date=October 25, 2018}}</ref>
| death_date         = {{Death date and age|1997|3|14|1907|4|29}}
| death_place        = [[London]], England
| alma_mater         = [[École nationale supérieure Louis-Lumière]]
| occupation         = {{hlist|Film director|producer}}
| notable_works      = {{flatlist|
* ''[[High Noon]]''
* ''[[From Here to Eternity]]''
* ''[[Oklahoma! (film)|Oklahoma!]]''
* ''[[A Man for All Seasons (1966 film)|A Man For All Seasons]]''
* ''[[Julia (1977 film)|Julia]]''
}}
| years_active       = 1932–1982
| spouse             = {{marriage|Renee Bartlett|1936}}
| children           = [[Tim Zinnemann]]
| awards             = '''[[Academy Award for Best Director]]'''<br />1954 ''[[From Here to Eternity]]''<br/>1967 ''[[A Man for All Seasons (1966 film)|A Man for All Seasons]]''

'''[[Academy Award for Best Picture]]'''<br />1967 ''A Man for All Seasons''

'''[[Academy Award for Best Documentary Short Film]]'''<br />1952 ''[[Benjy (film)|Benjy]]''
}}
'''Alfred Zinnemann''' (April 29, 1907 – March 14, 1997) was an American<ref name="rzenews" /> film director and producer. He won four [[Academy Awards]] for directing and producing films in various genres, including [[thriller film|thrillers]], [[western (genre)|westerns]], [[film noir]] and [[drama|play]] adaptations. He began his career in Europe before emigrating to the US, where he specialized in [[Short film|shorts]] 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?|date=September 2024}}, Zinnemann's style demonstrated his sense of "psychological realism and his apparent determination to make worthwhile pictures that are nevertheless highly entertaining."{{citation needed|date=September 2024}}

Among his films were ''[[The Search]]'' (1948), ''[[The Men (1950 film)|The Men]]'' (1950), ''[[High Noon]]'' (1952), ''[[From Here to Eternity]]'' (1953), ''[[Oklahoma! (film)|Oklahoma!]]'' (1955),  ''[[The Nun's Story (film)|The Nun's Story]]'' (1959), [[The Sundowners (1960 film)|''The Sundowners'']] (1960), ''[[A Man for All Seasons (1966 film)|A Man for All Seasons]]'' (1966), ''[[The Day of the Jackal (film)|The Day of the Jackal]]'' (1973), and ''[[Julia (1977 film)|Julia]]'' (1977). His films received 65 Oscar nominations, winning 24; Zinnemann himself was nominated for ten, and won [[Academy Award for Best Director|Best Director]] for ''From Here to Eternity'' (1953), [[Academy Award for Best Picture|Best Picture]] and Best Director for ''A Man for All Seasons'' (1966), and [[Academy Award for Best Documentary (Short Subject)|Best Documentary, Short Subjects]] for ''[[Benjy (film)|Benjy]]'' (1951).

Zinnemann directed and introduced a number of stars in their American film debuts, including [[Marlon Brando]], [[Rod Steiger]], [[Pier Angeli]], [[Julie Harris (actress)|Julie Harris]], [[Brandon deWilde]], [[Montgomery Clift]], [[Shirley Jones]] and [[Meryl Streep]]. He directed 19 actors to Oscar nominations, including [[Frank Sinatra]], [[Montgomery Clift]], [[Audrey Hepburn]], [[Glynis Johns]], [[Paul Scofield]], [[Robert Shaw (actor)|Robert Shaw]], [[Wendy Hiller]], [[Jason Robards]], [[Vanessa Redgrave]], [[Jane Fonda]], [[Gary Cooper]] and [[Maximilian Schell]].

==Early life==
{{quote box|align=right|width=25em|bgcolor = Cornsilk|quote=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 in [[Austria-Hungary]] (now [[Poland]]), and raised as an Austrian, he would still never truly belong.|source= —Fred Zinnemann<ref name=Zinnemann/>{{rp|11}}}}
Zinnemann was born in [[Rzeszów]],<ref name="rzenews">{{cite web |title=Fred Zinnemann will return to Rzeszów. In August for an extraordinary film festival |url=http://rzeszow-news.pl/fred-zinnemann-wroci-do-rzeszowa-w-sierpniu-na-niezwykly-filmowy-festiwal/ |website=rzeszow-news |date=July 12, 2018 |access-date=October 25, 2018}}</ref><ref name="forbes22">{{cite web |title=The Immigrant who Directed The American Classic High Noon |url=https://www.forbes.com/sites/stuartanderson/2018/09/07/the-immigrant-who-directed-the-american-classic-high-noon/ |work=Forbes |access-date=October 25, 2018}}</ref><ref>{{cite web |title=Why Fred Zinnemann never mentioned his native Rzeszów? |url=http://www.biznesistyl.pl/ludzie/sylwetki/7293_fred-zinnemann-nigdy-nie-wspominal-o-rodzinnym-rzeszowie.html |website=biznesistyl |date=August 16, 2018 }}</ref><ref>{{cite web|url=https://szukajwarchiwach.pl/59/533/0/-/72/skan/full/TDq-ZPkV34DdrvisxIldFA|title=Civil Registration Book of Jewish Children in Rzeszów 1906–1909|date=1909|publisher=National Records Office in Rzeszów|access-date=August 26, 2018|via=Archival resources online|archive-date=October 30, 2020|archive-url=https://web.archive.org/web/20201030233234/https://szukajwarchiwach.pl/59/533/0/-/72/skan/full/TDq-ZPkV34DdrvisxIldFA|url-status=dead}}</ref> the son of Anna (Feiwel) and Oskar Zinnemann, a doctor.<ref>{{cite book|url=https://books.google.com/books?id=gvFkAAAAMAAJ|title=My Life in the Movies: An Autobiography|first=Fred|last=Zinnemann|date=August 3, 1992|publisher=Charles Scribner's Sons|access-date=August 3, 2018|via=Google Books|isbn=9780684190501}} pages 48-49</ref><ref>{{cite book|url=https://books.google.com/books?id=SiK_3d6a7DQC&pg=PR17|title=Fred Zinnemann: Interviews|first=Fred|last=Zinnemann|date=August 3, 2018|publisher=Univ. Press of Mississippi|access-date=August 3, 2018|via=Google Books|isbn=9781578066988}}</ref> His parents were [[History of the Jews in Austria|Austrian Jews]].<ref name=Hillstrom/><ref>[https://www.telegraph.co.uk/culture/music/proms/10233613/The-music-behind-Hollywoods-golden-age.html the London telegraph: "The music behind Hollywood's golden age – As the Proms pays tribute to Hollywood's golden age, Tim Robey looks at the composers who redefined the film score"] By Tim Robey. August 24, 2013.</ref> He had one younger brother.

Zinnemann grew up in [[Vienna]] during the [[First World War]], during much of which his father was serving as a combat medic with the [[Austro-Hungarian Army]] on the [[Eastern Front (World War I)|Eastern Front]]. Zinnemann later recalled that his father was [[PTSD|severely traumatized]] by his war experiences and often suffered from nightmares.<ref> Fred Zinnemann (1992), ''A Life in the Movies: An Autobiography'', Charles Scribner Sons. Pages 7–8.</ref>

While growing up in the [[First Austrian Republic]], which had been formed as a [[rump state]] of a fallen Empire in 1918 and which he later described as, "a tiny, defeated, impoverished country",<ref> Fred Zinnemann (1992), ''A Life in the Movies: An Autobiography'', Charles Scribner Sons. Page 7.</ref> Zinnemann wanted to become a musician, but went on to graduate with a law degree from the [[University of Vienna]] in 1927.<ref name=Hillstrom/>

While studying law, he became drawn to films and convinced his parents to let him study film production in the [[Third French Republic]]. After studying for a year at the [[Ecole Technique de Photographie et Cinématographie]] in Paris, Zinnemann became a [[cinematographer|cameraman]] and found work on a number of films being made at [[Babelsberg Studio]] in Berlin, during the [[Weimar Republic]], before emigrating to the United States.<ref name=Hillstrom/> Both of Zinnemann's parents, whom he later described as nostalgic for the days of the [[Habsburg Monarchy]], came back to [[Poland]] after [[Anschluss]] where later they were murdered by Germans during the [[Holocaust]]. Up until their death Zimmerman was exchanging letters with them, all written in Polish.<ref name=Nolletti/>{{rp|86}}

==Career as director==

===Early career===
Zinnemann worked in [[Weimar Republic|Germany]] with several other beginners ([[Billy Wilder]] and [[Robert Siodmak]] also worked with him on the 1929 feature ''[[People on Sunday]]'') after he studied filmmaking in France. His penchant for realism and authenticity is evident in his first feature ''[[Redes (film)|The Wave]]'' (1936), shot on location in Mexico with mostly non-professional actors recruited among the locals, which is one of the earliest examples of [[social realism]] in narrative film. Earlier in the decade, in fact, Zinnemann had worked with documentarian [[Robert Flaherty]], "probably the greatest single influence on my work as a filmmaker", he said.<ref name=Hillstrom/>

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.<ref name=Zinnemann/>{{rp|16}} As a result of the changing political climate, along with the fact that [[sound film]]s 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.<ref name=Zinnemann/>{{rp|16}}

He arrived in New York at the end of October 1929, at the time of the [[Stock market crash#Wall Street Crash of 1929|stock market crash]]. Despite the financial panic then beginning, he found New York to be a different cultural environment:<ref name=Zinnemann/>{{rp|17}}
{{blockquote|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.<ref name=Zinnemann/>{{rp|17}}}}

Shortly after, he took a Greyhound bus to Hollywood. One of Zinnemann's first jobs in Hollywood was as an [[extra (actor)|extra]] in ''[[All Quiet on the Western Front (1930 film)|All Quiet on the Western Front]]'' (1930). He said that many of the other extras were former [[Russian nobility|Russian aristocrat]]s and high-ranking officers who fled to America as refugees from the [[October Revolution]] in 1917 and the ensuing [[Red Terror]].<ref name=Zinnemann/>{{rp|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."<ref name=Zinnemann/>{{rp|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 with [[Henwar Rodakiewicz]], [[Gunther von Fritsch]] and [[Ned Scott]], all fellow contributors to the Mexican project.<ref>{{cite web|url=http://www.thenedscottarchive.com/ned-scott-biography.html|title=ned scott biography|author=<!--Staff writer(s); no by-line.-->|website=www.thenedscottarchive.com|access-date=August 3, 2018|archive-date=June 22, 2019|archive-url=https://web.archive.org/web/20190622072432/http://www.thenedscottarchive.com/ned-scott-biography.html|url-status=dead}}</ref> 

===1940s===
[[File:Montgomery Clift in The Search trailer.jpg|thumb|Montgomery Clift in his debut film, ''The Search'' (1948)]]
After some directing success with some short films, he graduated to features in 1942, turning out two B mysteries, ''[[Kid Glove Killer]] and'' ''[[Eyes in the Night]]'' before getting his big break with ''[[The Seventh Cross (film)|The Seventh Cross]]'' (1944), starring [[Spencer Tracy]], which became his first hit. The film was based on [[Anna Seghers]]' novel and, while filmed entirely on the [[MGM]] [[backlot]], 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 by [[Hume 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 the [[Holocaust]].<ref name=Nolletti/>{{rp|86}} He was frustrated by his studio contract, which dictated that he did not have a choice in directing films like ''[[Little Mister Jim]]'' (1946) and ''[[My Brother Talks to Horses]]'' (1947) despite his lack of interest in their subject matter.<ref name="books.google.com">{{cite book|url=https://books.google.com/books?id=SiK_3d6a7DQC|title=Fred Zinnemann: Interviews|first=Fred|last=Zinnemann|date=August 3, 2018|publisher=Univ. Press of Mississippi|access-date=August 3, 2018|via=Google Books|isbn=9781578066988}}</ref> 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 stars [[Montgomery Clift]] in his screen debut as a [[G.I. (military)|GI]] who cares for a lost Czech boy traumatized by the war. It was followed by ''[[Act of Violence]]'' (1948), a gritty [[film noir]] starring [[Van Heflin]] as a haunted POW, [[Robert Ryan]] as his hot-tempered former friend, [[Janet Leigh]] as Heflin's wife, and [[Mary Astor]] as a sympathetic prostitute. Zinnemann considered ''Act of Violence'' the first project in which he "felt comfortable knowing exactly what I wanted and exactly how to get it."<ref name="books.google.com"/>

===1950s===
''[[The Men (1950 film)|The Men]]'' (1950) stars [[Marlon Brando]] as a [[paraplegic]] 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 by ''[[Teresa (1951 film)|Teresa]]'' (1951), starring [[Pier Angeli]].

Perhaps Zinnemann's best-known work is ''[[High Noon]]'' (1952), one of the first 25 American films chosen in 1989 for the [[National Film Registry]]. With its psychological and moral examinations of its lawman hero Marshall Will Kane, played by [[Gary 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 friend [[Floyd Crosby]], he shot without filters, giving the landscape a harsh "newsreel" quality that clashed with the more painterly cinematography of John Ford's westerns.<ref>J. E. Smyth, "Fred Zinnemann and the Cinema of Resistance", Univ. Press of Mississippi, 2014. Pages 103–04.</ref> During production he established a strong rapport with [[Gary Cooper]], photographing the aging actor in many tight close-ups which showed him sweating, and at one point, even crying on screen.

Screenwriter [[Carl Foreman]] apparently intended ''[[High Noon]]'' to be an allegory of Senator [[Joseph 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 critic [[Stephen 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."<ref name=Nolletti/>{{rp|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.<ref name=Nolletti>Nolletti, Arthur, ed. ''The Films of Fred Zinnemann: Critical Perspectives'', State Univ. of N.Y. Press (1999)</ref>{{rp|86}} Zinnemann explains the theme of the film and its relevance to modern times:

{{blockquote|I saw it as a great movie yarn, full of enormously interesting people ... only later did it dawn on me that this was ''not'' a regular Western myth. There was something timely{{snd}}and timeless{{snd}}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{{snd}}symbol of a democracy gone soft{{snd}}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.<ref name=Zinnemann>Fred Zinnemann, ''A Life in the Movies. An Autobiography'', Macmillan Books, (1992)</ref>{{rp|96–97}}}}

For his screen adaptation of the play ''[[The Member of the Wedding]]'' (1952), Zinnemann chose [[Julie Harris (American actress)|Julie Harris]] as the film's 12-year-old [[protagonist]], 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]] and [[Brandon deWilde]], had.<ref>[http://www.thedigitalbits.com/item/member-of-the-wedding-bd ''The Member of the Wedding'' review], ''The Digital Bits'', July 28, 2016</ref>

Zinnemann's next film, ''[[From Here to Eternity]]'' (1953), based on the novel by [[James Jones (author)|James Jones]], was nominated for 13 [[Academy Awards]] and would go on to win 8, including Best Picture and Best Director. Zinnemann fought hard with producer [[Harry Cohn]] to cast [[Montgomery Clift]] as the character of Prewitt, although [[Frank Sinatra]], who was at the lowest point of his popularity, cast himself in the role of "Maggio" against Zinnemann's wishes.<ref>{{cite book|url=https://books.google.com/books?id=SiK_3d6a7DQC&pg=PA30|title=Fred Zinnemann: Interviews|first=Fred|last=Zinnemann|date=August 3, 2018|publisher=Univ. Press of Mississippi|access-date=August 3, 2018|via=Google Books|isbn=9781578066988}}</ref> Sinatra would later win an Oscar for Best Supporting Actor. ''From Here to Eternity'' also featured [[Deborah 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.

[[File:Don Murray - Eva Marie Saint - 1957.jpg|thumb|Don Murray and [[Eva Marie Saint]] in ''A Hatful of Rain'' (1957)]]
In ''[[Oklahoma (1955 film)|Oklahoma!]]'' (1955), Zinnemann's version of the [[Richard Rodgers|Rodgers]] and [[Oscar Hammerstein II|Hammerstein]] musical, the wide screen format [[Todd-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.<ref name=Nolletti/>{{rp|3}}

His next film was ''[[A Hatful of Rain]]'' (1957), starring [[Don Murray (actor)|Don Murray]], [[Eva Marie Saint]] and [[Anthony Franciosa]], and was based on the play by [[Michael 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.<ref name=Nolletti/>{{rp|3}}

Zinnemann rounded out the 1950s with ''[[The Nun's Story (film)|The Nun's Story]]'' (1959), casting [[Audrey Hepburn]] in the role of Sister Luke, a nun who eventually gives up the religious life to join the Belgian resistance in the [[Second World War]]. Based on a popular novel by [[Kathryn Hulme]] (inspired by the experiences of [[Marie 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 play [[Anne Frank]] in order to work on ''The 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's ''[[The Passion of Joan of Arc]]'' (1928), his favorite film. He was grateful that Hepburn was easy to work with:
{{blockquote|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.<ref name=Zinnemann/>{{rp|166}}}}

===1960s===
''[[The Sundowners (1960 film)|The Sundowners]]'' (1960), starring [[Robert Mitchum]] and [[Deborah Kerr]] as an [[Australian 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 (film)|Behold A Pale Horse]]'' (1964) was a post-[[Spanish Civil War]] epic based on the book ''[[Killing a Mouse on Sunday]]'' by [[Emeric Pressburger]] and starred [[Gregory Peck]], [[Anthony Quinn]] and [[Omar Sharif]], but was both a critical and commercial flop; Zinnemann would later admit that the film "didn't really come together."<ref>{{cite book|url=https://books.google.com/books?id=SiK_3d6a7DQC&pg=PA153|title=Fred Zinnemann: Interviews|first=Fred|last=Zinnemann|date=August 3, 2018|publisher=Univ. Press of Mississippi|access-date=August 3, 2018|via=Google Books|isbn=9781578066988}}</ref>

In 1965 he was a member of the jury at the [[4th Moscow International Film Festival]].<ref name="Moscow1965">{{cite web|url=http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1965 |title=4th Moscow International Film Festival (1965) |access-date=December 2, 2012 |work=MIFF |url-status=dead |archive-url=https://web.archive.org/web/20130116145645/http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1965 |archive-date=January 16, 2013 }}</ref>

Zinnemann's fortunes changed once again with ''[[A Man for All Seasons (1966 film)|A Man for All Seasons]]'' (1966), scripted by [[Robert Bolt]] from his own play and starring [[Paul Scofield]] as [[Sir 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 the [[5th Moscow International Film Festival]].<ref name="Moscow1967">{{cite web|url=http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1967 |title=5th Moscow International Film Festival (1967) |access-date=December 15, 2012 |work=MIFF |url-status=dead |archive-url=https://web.archive.org/web/20130116194759/http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1967 |archive-date=January 16, 2013 }}</ref>

After this, Zinnemann was all set to direct an adaptation of ''[[Man's Fate]]'' for [[MGM]]. 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.<ref name="Zinnemann dies at 89">{{cite news| url=https://www.variety.com/vstory/VR1117342690.html?categoryid=38&cs=1 | work=Variety | first1=Timothy M. | last1=Gray | first2=Richard | last2=Natale | title=Zinnemann dies at 89 | date=March 17, 1997}}</ref>

===1970s===
By the early 1970s, Zinnemann had been out of work since the cancellation of ''Man'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."<ref name="Zinnemann dies at 89"/> However, [[Universal Pictures|Universal]] then offered him the chance to direct ''[[The Day of the Jackal (film)|The Day of the Jackal]]'' (1973), based on the best-selling suspense novel by [[Frederick Forsyth]]. The film starred [[Edward Fox (actor)|Edward Fox]] as an English assassin hired to kill French president [[Charles de Gaulle]], and [[Michael 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.<ref>Arthur Nolletti, ed., [https://books.google.com/books?id=X2rpAGzeD-cC&pg=PA20&lpg=PA20 The Films of Fred Zinnemann: Critical Perspectives], SUNY Press, 1999, p. 20</ref>

''The Day of the Jackal'' was followed four years later by ''[[Julia (1977 film)|Julia]]'' (1977), based on a story in the book ''[[Pentimento: A Book of Portraits]]'' by [[Lillian Hellman]]. The film starred [[Jane Fonda]] as a young Hellman and [[Vanessa Redgrave]] as her best friend Julia, an American [[Beneficiary|heiress]] who forsakes the safety and comfort of both her homeland and great wealth to devote her life with fatal consequences to the [[Austrian Resistance]] to [[Nazism]]. 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.<ref name=Zinnemann/>{{rp|226}}

===1980s===
Zinnemann's final film was ''[[Five Days One Summer]]'' (1982), filmed in [[Switzerland]] and based on the short story ''Maiden, Maiden'' by [[Kay Boyle]]. It starred [[Sean Connery]] and [[Betsy Brantley]] as a "couple" vacationing in the [[Alps]] in the 1930s, and a young [[Lambert 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.<ref>{{cite book|url=https://books.google.com/books?id=X2rpAGzeD-cC&pg=PA34|title=The Films of Fred Zinnemann: Critical Perspectives|first=Arthur|last=Nolletti|date=June 24, 1999|publisher=SUNY Press|access-date=August 3, 2018|via=Google Books|isbn=9780791442265}}</ref> 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."<ref>{{cite news| url=https://www.latimes.com/archives/la-xpm-1992-06-21-ca-1509-story.html | work=Los Angeles Times | first=David | last=Gritten | title=Movies : A Lion in His Winter : At 85, Fred Zinnemann looks back on a life in film; his anecdote-rich autobiography earns the rave reviews his last movie didn't | date=June 21, 1992}}</ref>

==Final years and death==
Zinnemann is often regarded as striking a blow against [[ageism]] in Hollywood.{{by whom |date= May 2022}}<ref>{{Cite book |last=Sinyard |first=Neil |title=Fred Zinnemann: Films of Character and Conscience |publisher=McFarland |year=2010 |isbn=9780786481729 |pages=62}}</ref> 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.<ref>{{cite news
  | last =Weinraub
  | first =Bernard
  | title = At Lunch with: John Gregory Dunne; The Bad Old Days in All Their Glory
  | work=[[The New York Times]]
  | date =September 14, 1994
| url =https://query.nytimes.com/gst/fullpage.html?res=9F0DE1D9153BF937A2575AC0A962958260
  | access-date = October 9, 2007 }}</ref>

Zinnemann insisted, "I've been trying to disown that story for years. It seems to me Billy Wilder told it to me about himself."<ref>{{cite news| url=https://www.latimes.com/archives/la-xpm-1992-06-21-ca-1509-story.html | work=Los Angeles Times | first=David | last=Gritten | title=Movies : A Lion in His Winter : At 85, Fred Zinnemann looks back on a life in film; his anecdote-rich autobiography earns the rave reviews his last movie didn't | date=June 21, 1992}}</ref>

Zinnemann died of a heart attack in London, England on March 14, 1997.<ref>{{Cite web|url=http://www.encyclopedia.com/arts/educational-magazines/zinnemann-fred-1907-1997|title=Zinnemann, Fred 1907–1997|website=www.encyclopedia.com|language=en|access-date=April 20, 2017}}</ref> He was 89 years old. Zinneman's remains were cremated at [[Kensal Green Cemetery]] and the cremated remains were collected from the cemetery. His wife, [[Renee Bartlett]] died on December 18, 1997.<ref>{{Cite web|url=https://www.tcm.com/tcmdb/person/212767%7C55504/Fred-Zinnemann/|title=Overview for Fred Zinnemann|website=Turner Classic Movies|access-date=April 20, 2017}}</ref>

==Directing style==
{{quote box|align=right|width=25em|bgcolor = Cornsilk|quote=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.|source= —Arthur Nolletti,<ref name=Nolletti/>{{rp|1}}<br>film historian}}

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 with ''High Noon'' in 1952, possibly his finest film, he created the tense atmosphere by coordinating screen time with real time.<ref name=Hillstrom/>

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.<ref name=Zinnemann/>{{rp|223}}

Zinnemann's films are mostly dramas about lone and principled individuals tested by tragic events, including ''[[High Noon]]'' (1952), ''[[From Here to Eternity]]'' (1953); ''[[The Nun's Story (film)|The Nun's Story]]'' (1959); ''[[A Man for All Seasons (1966 film)|A Man For All Seasons]]'' (1966); and ''[[Julia (1977 film)|Julia]]'' (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 director [[Alan Parker]]:

{{blockquote|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.<ref name=Emery>Emery, Robert J. ''The Directors'', Allworth Press, N.Y. (2003) pp. 133–154</ref>}}

In ''[[From 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, in ''A Hatful of Rain'', he used a documentary style to present real life drug addiction in New York City. Zinnemann again incorporated newsreel footage in ''Behold a Pale Horse'', about the Spanish Civil War. ''The Day of the Jackal'', a political thriller about an attempt to assassinate [[Charles de Gaulle]], was shot on location in newsreel style, while ''Julia'' placed the characters in authentic settings, as in a suspenseful train journey from Paris to Moscow during World War II.<ref name=Hillstrom/> 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."<ref name=Hillstrom/>

==Filmography==

===Feature films===
{| class="wikitable"
!Year
!Title
!Notes
|-
| 1936
| ''[[Redes (film)|Redes]]''
|
|-
| rowspan=2|1942
| ''[[Kid Glove Killer]]''
| 
|-
| ''[[Eyes in the Night]]''
| 
|-
| 1944
| ''[[The Seventh Cross (film)|The Seventh Cross]]''
| 
|-
| 1946
| ''[[Little Mister Jim]]''
| 
|-
| 1947
| ''[[My Brother Talks to Horses]]''
| 
|-
| 1948
| ''[[The Search]]''
|
|-
| 1949
| ''[[Act of Violence]]''
| 
|-
| 1950
| ''[[The Men (1950 film)|The Men]]''
| 
|-
| 1951
| ''[[Teresa (1951 film)|Teresa]]''
| 
|-
| rowspan=2|1952
| ''[[High Noon]]''
| 
|-
| ''[[The Member of the Wedding (film)|The Member of the Wedding]]''
| 
|-
| 1953
| ''[[From Here to Eternity]]''
|
|-
| 1955
| ''[[Oklahoma! (film)|Oklahoma!]]''
|
|-
| 1957
| ''[[A Hatful of Rain]]''
|
|-
| 1959
| ''[[The Nun's Story (film)|The Nun's Story]]''
| 
|-
| 1960
| ''[[The Sundowners (1960 film)|The Sundowners]]''
| 
|-
| 1964
| ''[[Behold a Pale Horse (film)|Behold a Pale Horse]]''
| 
|-
| 1966
| ''[[A Man for All Seasons (1966 film)|A Man For All Seasons]]''
|
|-
| 1973
| ''[[The Day of the Jackal (film)|The Day of the Jackal]]''
| 
|-
| 1977
| ''[[Julia (1977 film)|Julia]]''
| 
|-
| 1982
| ''[[Five Days One Summer]]''
| 
|-
|}

===Short films===
{|class="wikitable"
|-
! style="background:#B0C4DE;" |Year
! style="background:#B0C4DE;" |Film
! style="background:#B0C4DE;" |Oscar nominations
! style="background:#B0C4DE;" |Oscar wins
|-
| 1937
| ''[[Friend Indeed]]''
| 
| 
|-
| rowspan=3|1938
| ''[[They Live Again]]''
| 
| 
|-
| ''[[That Mothers Might Live]]''
| 1
| 1
|-
| ''[[The Story of Doctor Carver]]''
| 
| 
|-
| rowspan=6|1939
| ''[[Weather Wizards]]''
| 
| 
|-
| ''[[While America Sleeps (film)|While America Sleeps]]''
| 
| 
|-
| ''[[Help Wanted (1939 film)|Help Wanted]]''
| 
| 
|-
| ''[[One Against the World]]''
| 
| 
|-
| ''[[The Ash Can Fleet]]''
| 
| 
|-
| ''[[Forgotten Victory]]''
| 
| 
|-
| rowspan=4|1940
| ''[[Stuffie]]''
| 
| 
|-
| ''[[The Great Meddler]]''
| 
| 
|-
| ''[[The Old South]]''
| 
| 
|-
| ''[[A Way in the Wilderness]]''
| 
| 
|-
| rowspan=2|1941
| ''[[Forbidden Passage]]''
| 1
| 
|-
| ''[[Your Last Act]]''
| 
| 
|-
| rowspan=2|1942
| ''[[The Greenie]]''
| 
| 
|-
| ''[[The Lady or the Tiger?]]''
| 
| 
|-
| 1951
| ''[[Benjy (film)|Benjy]]'' (documentary)
| 1
| 1
|-
|}

=== Unfinished films ===
{| class="wikitable"
!Year
!Title
!Replaced by
!{{abbr|Ref.|Reference(s)}}
|-
|1943
|''[[Marriage Is a Private Affair]]''
|[[Robert Z. Leonard]]
|<ref>{{cite web|url=https://catalog.afi.com/Catalog/moviedetails/24062|title=AFI&#124;Catalog - Marriage Is a Private Affair|website=[[AFI Catalog of Feature Films]]|access-date=July 28, 2024}}</ref>
|-
|1944
|''[[The Clock (1945 film)|The Clock]]''
|[[Vincente Minnelli]]
|<ref>{{cite web|url=https://catalog.afi.com/Catalog/moviedetails/24360|title=AFI&#124;Catalog - The Clock|website=[[AFI Catalog of Feature Films]]|access-date=July 28, 2024}}</ref>
|-
|1951
|''[[His Majesty O'Keefe]]''
|[[Byron Haskin]]
|<ref>{{cite web|url=https://catalog.afi.com/Catalog/moviedetails/51231|title=AFI&#124;Catalog - His Majesty O'Keefe|website=[[AFI Catalog of Feature Films]]|access-date=July 28, 2024}}</ref>
|-
|1952
|''[[The Young Lions (film)|The Young Lions]]''
|[[Edward Dmytryk]]
|<ref>{{cite web|url=https://catalog.afi.com/Catalog/moviedetails/53587|title=AFI&#124;Catalog - The Young Lions|website=[[AFI Catalog of Feature Films]]|access-date=July 28, 2024}}</ref>
|-
|1955
|''[[The Old Man and the Sea (1958 film)|The Old Man and the Sea]]''
|[[John Sturges]]
|<ref>{{cite web|url=https://catalog.afi.com/Catalog/moviedetails/52685|title=AFI&#124;Catalog - The Old Man and the Sea|website=[[AFI Catalog of Feature Films]]|access-date=July 28, 2024}}</ref>
|-
| rowspan=3|1964
|''[[Birch Interval]]''
|[[Delbert Mann]]
|<ref>{{cite web|url=https://catalog.afi.com/Catalog/moviedetails/55817|title=AFI&#124;Catalog - Birch Interval|website=[[AFI Catalog of Feature Films]]|access-date=July 28, 2024}}</ref>  
|-
|''[[Hawaii (1966 film)|Hawaii]]''
|[[George Roy Hill]]
|<ref>{{cite web|url=https://catalog.afi.com/Catalog/moviedetails/23872|title=AFI&#124;Catalog - Hawaii|website=[[AFI Catalog of Feature Films]]|access-date=July 28, 2024}}</ref>
|-
|''[[Who's Afraid of Virginia Woolf? (film)|Who's Afraid of Virginia Woolf?]]''
|[[Mike Nichols]]
|<ref>{{cite web|url=https://catalog.afi.com/Catalog/moviedetails/22930|title=AFI&#124;Catalog - Who's Afraid of Virginia Woolf?|website=[[AFI Catalog of Feature Films]]|access-date=July 28, 2024}}</ref>
|-
|1965
|''The Day Custer Fell''
|{{n/a}}
|<ref>{{cite news|last=Joseph|first=Robert|title=Custer in Castillia? They Went Thataway|newspaper=[[Los Angeles Times]]|date=January 15, 1967|page=o12}}</ref>
|-
|1968
|''The Dybbuk''
|{{n/a}}
| rowspan=2|<ref>{{cite magazine|url=https://www.filmcomment.com/article/unproduced-and-unfinished-films-a-ongoing-film-comment-project/|title=Unproduced and Unfinished Films: An Ongoing Film Comment project|magazine=[[Film Comment]]|issue=May-June 2012}}</ref>
|-
|1969
|''Man's Fate''
|{{n/a}}
|-
|1972
|''Abelard and Heloise''
|{{n/a}}
|<ref>{{cite news|last=Weiler|first=A. H.|url=https://www.nytimes.com/1972/01/30/archives/call-him-judas-you-can-call-him-judas.html|title=MOVIES|newspaper=[[The New York Times]]|date=January 30, 1972|page=d13}}</ref>
|-
|1975
|''[[The French Lieutenant's Woman (film)|The French Lieutenant's Woman]]''
|[[Karel Reisz]]
|<ref>{{cite web|url=https://catalog.afi.com/Catalog/moviedetails/60191|title=AFI&#124;Catalog - The French Lieutenant's Woman|website=[[AFI Catalog of Feature Films]]|access-date=July 28, 2024}}</ref>
|}

==Awards and honours==
{{main|List of awards and nominations received by Fred Zinnemann}}
Over the course of Zinnemann's career he has received four [[Academy Awards]], two [[BAFTA Awards]], and two [[Golden Globe Awards]].<ref name=Hillstrom>Hillstrom, Laurie Collier. ''International Dictionary of Films and filmmakers-2: Directors'', 3rd ed. St. James Press (1997) p. 1116-1119</ref>
*Academy Award for Best Short Subject, One-Reel: ''That Mothers Might Live'' (1938).
*Golden Globe for Best Film Promoting International Understanding: "The Search" (1948).
*Academy Award for Best Documentary Short Subject: ''Benjy'' (1951).
*New York Film Critics Circle Award for Best Director: ''High Noon'' (1952).
*Academy Award for Best Director, Directors Guild of America (DGA) Award for Outstanding Directorial Achievement in Motion Pictures: ''From Here to Eternity'' (1953).
*New York Film Critics Circle Award for Best Director: ''The Nun's Story'' (1959).
*Academy Award for Best Director, New York Film Critics Circle Award for Best Director, and Directors Guild of America (DGA) Award for Outstanding Directorial Achievement in Motion Pictures: ''A Man for All Seasons'' (1966).
*D. W. Griffith Award, 1971.
*Order of Arts and Letters, France, 1982.
*U.S. Congressional Lifetime Achievement Award, 1987.
*John Huston Award, Artists Right Foundation, 1994.

{| class="wikitable"
|+Accolades for Zinnemann's pictures
|-
!rowspan="2"|Year
!rowspan="2"|Picture
!colspan="2" style="background-color:#aaaade;"|Oscars
!colspan="2" style="background-color:#aa0;"|BAFTAs
!colspan="2" style="background-color:#fe1;"|Golden Globes
|-
!Nominations
!Wins
!Nominations
!Wins
!Nominations
!Wins
|-
|1944
|''[[The Seventh Cross (film)|The Seventh Cross]]''
|align=center|1
|
|
|
|
|
|-
|1948
|''[[The Search]]''
|align=center|4
|align=center|1
|align=center|1
|align=center|1
|
|
|-
|1950
|''[[The Men (1950 film)|The Men]]''
|align=center|1
|
|align=center|1
|
|
|
|-
|1951
|''[[Teresa (1951 film)|Teresa]]''
|align=center|1
|
|
|
|align=center|1
|align=center|1
|-
|rowspan="2"|1952
|''[[High Noon]]''
|align=center|7
|align=center|4
|
|
|align=center|7
|align=center|4
|-
|''[[The Member of the Wedding (film)|The Member of the Wedding]]''
|align=center|1
|
|
|
|
|
|-
|1953
|''[[From Here to Eternity]]''
|align=center|13
|align=center|8
|align=center|1
|
|align=center|2
|align=center|2
|-
|1955
|''[[Oklahoma! (film)|Oklahoma!]]''
|align=center|4
|ailgn=center|2
|
|
|
|
|-
|1957
|''[[A Hatful of Rain]]''
|align=center|1
|
|align=center|1
|
|align=center|3
|
|-
|1959
|''[[The Nun's Story (film)|The Nun's Story]]''
|align=center|8
|
|align=center|5
|align=center|1
|align=center|5
|
|-
|1960
|''[[The Sundowners (1960 film)|The Sundowners]]''
|align=center|5
|
|align=center|3
|
|align=center|1
|
|-
|1966
|''[[A Man for All Seasons (1966 film)|A Man for All Seasons]]''
|align=center|8
|align=center|6
|align=center|7
|align=center|7
|align=center|5
|align=center|4
|-
|1973
|''[[The Day of the Jackal (film)|The Day of the Jackal]]''
|align=center|1
|
|align=center|7
|align=center|1
|align=center|3
|
|-
|1977
|''[[Julia (1977 film)|Julia]]''
|align=center|11
|align=center|3
|align=center|10
|align=center|4
|align=center|7
|align=center|2
|-
!colspan="2" style="background-color:#bcc5cb;"|Total
!66
!24
!36
!14
!34
!13
|-
|}

===Oscar-related performances===
{| class="wikitable"
|-
!style="background-color:#b0c4de;"|Year
!style="background-color:#b0c4de;"|Performer
!style="background-color:#b0c4de;"|Picture
!style="background-color:#b0c4de;"|Result
|-
!colspan="4" style="background-color:#dedafe;"|[[Oscar for Best Actor|Best Actor]]
|-
|[[21st Academy Awards|1949]]
|[[Montgomery Clift]]
|''[[The Search]]''
|{{nom}}
|-
|[[25th Academy Awards|1953]]
|[[Gary Cooper]]
|''[[High Noon]]''
|{{won}}
|-
|rowspan="2"|[[26th Academy Awards|1954]]
|Montgomery Clift
|rowspan="2"|''[[From Here to Eternity]]''
|{{nom}}
|-
|[[Burt Lancaster]]
|{{nom}}
|-
|[[30th Academy Awards|1958]]
|[[Anthony Franciosa]]
|''[[A Hatful of Rain]]''
|{{nom}}
|-
|[[39th Academy Awards|1967]]
|[[Paul Scofield]]
|''[[A Man for All Seasons (1966 film)|A Man for All Seasons]]''
|{{won}}
|-
!colspan="4" style="background-color:#dedafe"|[[Oscar for Best Actress|Best Actress]]
|-
|1953
|[[Julie Harris]]
|''[[The Member of the Wedding (film)|The Member of the Wedding]]''
|{{nom}}
|-
|1954
|[[Deborah Kerr]]
|''From Here to Eternity''
|{{nom}}
|-
|[[32nd Academy Awards|1960]]
|[[Audrey Hepburn]]
|''[[The Nun's Story (film)|The Nun's Story]]''
|{{nom}}
|-
|[[33rd Academy Awards|1961]]
|Deborah Kerr
|''[[The Sundowners (1960 film)|The Sundowners]]''
|{{nom}}
|-
|[[50th Academy Awards|1978]]
|[[Jane Fonda]]
|''[[Julia (1977 film)|Julia]]''
|{{nom}}
|-
!colspan="4" style="background-color:#dedafe;"|[[Oscar for Best Supporting Actor|Best Supporting Actor]]
|-
|[[17th Academy Awards|1945]]
|[[Hume Cronyn]]
|''[[The Seventh Cross (film)|The Seventh Cross]]''
|{{nom}}
|-
|1954
|[[Frank Sinatra]]
|''From Here to Eternity''
|{{won}}
|-
|1967
|[[Robert Shaw (actor)|Robert Shaw]]
|''A Man for All Seasons''
|{{nom}}
|-
|rowspan="2"|1978
|[[Jason Robards]]
|rowspan="2"|''Julia''
|{{won}}
|-
|[[Maximillian Schell]]
|{{nom}}
|-
!colspan="4" style="background-color:#dedafe;"|[[Oscar for Best Supporting Actress|Best Supporting Actress]]
|-
|1954
|[[Donna Reed]]
|''From Here to Eternity''
|{{won}}
|-
|1961
|[[Glynis Johns]]
|''The Sundowners''
|{{nom}}
|-
|1967
|[[Wendy Hiller]]
|''A Man for All Seasons''
|{{nom}}
|-
|1978
|[[Vanessa Redgrave]]
|''Julia''
|{{won}}
|-
|}

==References==
{{Reflist}}

==External links==
{{Portal|Biography}}
* {{IMDb name|3593}}
* [http://www.virtual-history.com/movie/person/3994/fred-zinnemann Literature on Fred Zinnemann]
* [http://catalog.oscars.org/vwebv/holdingsInfo?bibId=65700 Fred Zinnemann papers], Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
* [https://www.mediathek.at/nc/type/8000/searchQuery/1634/hash/8qAzHrD5// Fred Zinnemann] (in German) from the online-archive of the [[Österreichische Mediathek]]

{{Fred Zinnemann}}
{{Navboxes
|title = Awards for Fred Zinnemann
|list =
{{Academy Award Best Picture Producers}}
{{Academy Award Best Director}}
{{BAFTA Best Film recipients}}
{{BAFTA Academy Fellowship Award}}
{{British Film Institute Fellowship}}
{{DirectorsGuildofAmericaAwardFeatureFilm}}
{{DirectorsGuildofAmericaAwardLifetimeFilm}}
{{Golden Globe Award for Best Director}}
{{National Board of Review Award for Best Director}}
{{New York Film Critics Circle Award for Best Director}}
}}

{{Authority control}}

{{DEFAULTSORT:Zinnemann, Fred}}
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