Pakula, John Frankenheimer, Paul Newman, Peter Bogdanovich, Sydney Pollack, Fred Zinnemann
, Robert Redford, Martin Ritt, Norman Jewison, Stephen Frears and Wayne Wang.
The quote also opens Julia, director Fred Zinnemann
's Academy Award-winning 1977 film based on the contentious chapter of the same name in Pentimento.
"Put the two men's records, their reputations, even their respective books, side by side, and it's hard to imagine two more polar opposites than Trump and Comey: They are as antipodean as the untethered, sybaritic Al Capone and the square, diligent G-man Eliot Ness in Brian De Palma's 1987 movie 'The Untouchables'; or the vengeful outlaw Frank Miller and Gary Cooper's stoic, duty-driven marshal Will Kane in Fred Zinnemann
's 1952 classic 'High Noon.'"
were actual patients in director Fred Zinnemann
's avant-garde black
But consider other celebrated examples: Howard Hawks's Red River (1949), contrasting a humane stepson with his martinet father as different versions of masculine and civic deportment; or Anthony Mann's Winchester '73 (1950), dramatically contrasting two sharpshooters, hero and villain, in a vicious pursuit that ends only to reveal that they are actually brothers; or Fred Zinnemann
's High Noon (1952), portraying Marshall Will Kane (Gary Cooper) as newly pacifist (ready to wed his Quaker fiancee) yet militant ("Seems to me I've got to stay").
The questioning of the war is weaker in this film than in Hell in the Pacific and None But the Brave as the final American triumph neutralizes the challenge, and it ends on a heroic stance that recalls the patriotism of Pacific theater war films like John Ford's They Were Expendable (1945), Fred Zinnemann
's From Here to Eternity (1953), or Joshua Logan's South Pacific (1958).
At the center of Frankel's investigation stand four figures: Foreman, Cooper, producer Stanley Kramer, and director Fred Zinnemann
. As Frankel details, High Noon achieved success despite the antagonism fueled by the team's divergent political beliefs and creative disagreements.
Kramer would then produce 1950's 'The Men', directed by Fred Zinnemann
, famous for being Marlon Brando's film debut.
Rafferty's archetypically masculine Australian star persona had been established in an earlier iteration of Australian cinema that had a far more benign vision of national identity, including in The Sundowners (Fred Zinnemann
, 1960) and They're a Weird Mob (Michael Powell, 1966).