Fred Zinnemann
80 connections found
View:
Connections, in both directions
Watching the movie is like sitting next to an ADD patient with access to a remote control and a hundred premium cable channels; you could try to keep count as the images flicker by, but ultimately it's a pointless exercise as they're piled one on top of the other--as the From Here to Eternity joke just as quickly becomes a Little Mermaid punch line immediately gives way to a Lord of the Rings nod that rapidly evolves into a Spider-Man gag.
True, the pop- culture and movie in- jokes are more manic and come faster than in Shrek; and while the references to things like The Lord of the Rings and Ghostbusters aren’t entirely unexpected, who’d have imagined nods to From Here to Eternity or The Fabulous Baker Boys?
After a roll in the waves recalling Burt Lancaster and Deborah Kerr ’s sultry clinch in From Here to Eternity, they discover there’s trouble in paradise, and its name is in-laws.
Not even Eddie Murphy as Donkey can get off a good one, so you might spend this part of the movie reflecting on how computer animation makes humans look creepy and creepy things look human, or perhaps count the gratuitous movie references (From Here to Eternity and The Sound of Music, and many others, are tapped before we even get to the fart joke).
It draws on an entire library of westerns, most obviously “High Noon” and the Clint Eastwood-Sergio Leone spaghetti epics, but it also draws on “ Chinatown ” and many other movies featuring reptilian bad guys.
Rango is best enjoyed by those over 10 who have an idea of what "existential" means and can appreciate a surreal mashup of Chinatown, Gladiator, High Noon, and The Good, the Bad and the Ugly.
The central mystery is a straight-ahead, surprise-free slog (a bit similar to Chinatown, minus the sex and the story twists, though with the murder intact); the characters are familiar tropes, and the tone and imagery come courtesy of countless Westerns, from Sergio Leone to High Noon.
With its fast draws, distinct settings, close-up shots and slower pacing, Verbinski pays perfect tribute to such classics as “The Good, the Bad and the Ugly,” “High Noon” and “Once Upon a Time in the West,” and even Hans Zimmer's score should conjure up memories of Ennio Morricone's finest work.
Individual sequences and images scattered throughout are intentionally reminiscent of famous pictures like High Noon and Sergio Leone's spaghetti Westerns.
The smart screenplay by John Logan pays homage to many classic Westerns, such as High Noon, while simultaneously poking fun at the genre.
The Jackal is a trashy, frenetic remake of Fred Zinnemann's 1973 The Day of the Jackal, a fascinatingly deadpan Continental manhunt thriller that served up its trickery and disguises with a fair degree of sophistication and wit.
Inspired by the rough outline of the 1973 film "The Day of the Jackal," which focused on a plot to do away with French leader Charles de Gaulle, "The Jackal" probably sounded good enough to fill out the dance card of stars like Bruce Willis and Richard Gere and director Michael Caton-Jones.
You pretend you're making a remake of "The Day of the Jackal," Fred Zinnemann's 1973 thriller based on the Frederick Forsyth novel about the assassination plot against Charles De Gaulle.
In director Michael Caton-Jones's loosely based remake of Fred Zinnemann's The Day of the Jackal (1973), the classic theme of using a criminal to catch a criminal is employed.
Directed by Michael Caton-Jones; written by Chuck Pfarrer, based on the motion picture screenplay "The Day of the Jackal" by Kenneth Ross; director of photography, Karl Walter Lindenlaub; edited by Jim Clark; music by Carter Burwell; production designer, Michael White; produced by James Jacks, Sean Daniels, Caton-Jones and Kevin Jarre; released by Universal Pictures.
Fred Zinneman's masterful 1973 adaptation of Frederick Forsyth's bestselling novel "The Day of the Jackal" is unforgivably mutilated in "The Jackal," an alleged "remake" that resembles neither Forsyth's novel nor Zinneman's film sufficiently to claim any relation to either.
As a result, Pearl Harbor constantly reminds you of other, better movies (yes, even From Here to Eternity) -- but only for a second, because then he's off to something else.
Lovelorn soldiers stationed in Hawaii have their romantic lives torn asunder when the Japanese bomb Pearl Harbor: you can add remaking Fred Zinnemann's Oscar-winning From Here to Eternity without due credit to the tally of Pearl Harbor 's wickedness, although a picture as cool and sensitive--the two qualities exactly lacking from Pearl Harbor --as From Here to Eternity would hardly want the acknowledgment.
As a matter of fact, there is more than passing borrowing from that Spielberg film, James Cameron's "Titanic," "From Here to Eternity" and a myriad of Hollywood war movies from the 40's and 50's.
And as a searing personal drama about an ensemble of characters whose lives are caught up in the events of Dec. 7, 1941, it's a pale shadow of one of the most celebrated movies of all time: 1953's "From Here to Eternity."
People carouse and drink on Dec. 6, 1941, as if they're in "From Here to Eternity."
Hacksaw Ridge (2016)
Directed by Mel Gibson
influenced by From Here to Eternity (1953)
Plot Characters
Although Andrew Garfield is winning as Doss, oddly these scenes are among Gibson's – and the movie's – weakest, feeling like leftovers from "From Here to Eternity," as the private is bullied and abused.
In the basic-training section, where Doss is abused by his fellow soldiers — lots of echoes of “From Here to Eternity” here — Gibson sets up the mixed-platoon format familiar from countless war movies (there’s the Italian-American, the country boy, the bully, etc.).
Portrayed by Andrew Garfield with an astonishing soulfulness that recalls Montgomery Clift in From Here to Eternity, Doss was a devout Seventh-day Adventist who declined a religious exemption that would allow him to avoid military service.
A lot of actresses have won Oscars and never matched that career peak but Swinton has gotten even better since her Academy Award with stunning work in “Julia,” “I Am Love,” and, now, “We Need to Talk About Kevin.”
Screenwriter Robert Bolt was also responsible for A Man for All Seasons (also on the Vatican film list for religious significance), Fred Zinneman’s incomparable film about the last years of St. Thomas More, who was martyred under King Henry VIII.
This is a powerful, compelling, and spiritually stirring film directed by Roland Joffe (The Killing Fields) and written by Robert Bolt (A Man For All Seasons).
Screenwriter Robert Bolt ("Lawrence of Arabia," "Doctor Zhivago," "A Man for All Seasons"), music composer Ennio Morricone ("The Good, the Bad and the Ugly," "The Untouchables"), and director Roland Joffé ("The Killing Fields," "City of Joy") give us a moving, inspiring, even rousing tale set against a politically sensitive and socially volatile backdrop.
The Bourne Identity recalls the chill, low-key efficiency of The Day of the Jackal (1973) and Three Days of the Condor (1975); it could have been called Four Days of the Cipher.
The American (2010)
Directed by Anton Corbijn
influenced by The Day of the Jackal (1973)
Plot Visuals Characters
With its focus on the fascinating minutiae of carrying out an assassination, The American partly resembles the fine 1973 thriller The Day Of The Jackal, about an attempt on Charles de Gaulle’s life, though it’s much sparer, and completely apolitical.
His contact sends him a mysterious client (Thekla Reuten), who asks him to manufacture a lightweight weapon not unlike the one in Frederick Forsyth's "The Day of the Jackal."
But we don't see it here, for Corbijn, unfortunately, has absolutely no idea how to build suspense, sustain a story or tighten the tension around the filmgoer's throat the way Fred Zinneman did so superbly in The Day of the Jackal (1973), the style and feel of which this picture so desperately wants to emulate.
That's a promising moment ? it suggests that Clooney is playing the sort of sociopathic hitman one remembers from films like The Day of the Jackal (1973).
With its European tone and methodical assassinations, it reminds me of 1973's The Day of the Jackal.
The first comes from Michael Lonsdale–probably best known to American viewers from his key role in “The Day of the Jackal” (an obvious template for “Munich”) and as the bad guy in “Moonraker”–as a silky-smooth peddler of information who is all the more terrifying because he has no ideological concerns or boundaries; he will deal with anyone as long as the price is right and is cheerfully willing to sell the whereabouts of his customers to those they are hunting without hesitation.
With expensive assistance from an enigmatic French contact (Mathieu Amalric) and his avuncular father (crafty scene-stealer Michael Lonsdale, who trailed another terrorist on-screen 32 years ago in "The Day of the Jackal"), the squad tracks down its targets and hits them, literally, where they live: a literary scholar in Rome, a professor in Paris ...
Some scenes are heisted by Craig, Hinds, Geoffrey Rush as the main Mossad string-puller, Matt Kassovitz as the bomb nerd, Mathieu Amalric as the French fox, Ayelet Zurer as Kauffman's wife, Michael Lonsdale as the Frenchie's life-savoring but cynical father, a role to place next to his splendid, worldly inspector in "The Day of the Jackal."
He points out homages--sometimes they're to non-Disney movies (Shere Khan's entrance is a nod to A Man for All Seasons ), sometimes they're merely oblique (yes, Mowgli picks up the cowbell in King Louie's lair as a tribute to Christopher Walken)--and paints a generally appetizing portrait of the challenging but harmonious production.
It's that wit that propels a great deal of the surface pleasure of Cowboy Bebop with the archetype of the gangly American cowboy prophet/warrior, one referenced in a mid-film drive-in movie of High Noon attended by Jet and lent a certain degree of poignancy by the slow understanding that the picture (and the series that spawned it) is in love with nostalgia for a post-war age that, particularly for the Japanese, was fraught with ambiguity, shame, and tragedy.
The plot in this feature-length film (released in Japan in 2001) involves bioterrorism, which conveniently anoints it with an especially up-to-the-minute feel (especially poignant when Jet watches a grainy old print of High Noon and waxes nostalgic about the "days when you faced your enemy").
Once Upon a Time... in Hollywood (2019)
Directed by Quentin Tarantino
influenced by From Here to Eternity (1953)
Plot
Tarantino sets his film in the months leading up to the murders of Sharon Tate (Margot Robbie), Jay Sebring (Emile Hirsch), Abby Folger (Samantha Robinson), and Wojciech Frykowski (Costa Ronin) in much the same vein as Fred Zinnemann sets From Here to Eternity in the weeks presaging Pearl Harbor: the looming of the Event of is so oppressive and doom-laden it casts a pall on those incredible glimpses of L.A. in the era of Musso & Franks and the Taft Building and the Cocoanut Grove.
He's Angel Eyes, played by veteran movie heavy Lee Van Cleef, the same Van Cleef whose credentials as a baddie go all the way back to "High Noon" in 1952.
It was about fathers and sons, too, back in 1957 when Lloyd Nolan, the father in "A Hatful of Rain" told his addicted war veteran son Don Murray that he loved him.
Memoirs of a Geisha (2005)
Directed by Rob Marshall
influenced by From Here to Eternity (1953)
Themes
Unless you've read the book, it might not be obvious when this story takes place, but once WWII hits Japan, the movie becomes something different, more like a wartime romance in the vein of "From Here to Eternity."
The point made may be overly obvious to an adult, but Gary Cooper makes an appearance in the western “High Noon,” with the voice of Tex Ritter’s pleading “Do Not Forsake Me, Oh My Darlin’.”
Hill is unaffected and charming, and while Dornan is rather understated—perhaps too much of the Gary Cooper from “High Noon”—he carries off the final confrontation with Clanton steadfastly, even if the situation seems a bit melodramatic and contrived.
The film is crammed with eccentric neighbors and memories of TV shows: Raquel Welsh in fur bikini in “One Million Years B.C.”, John Wayne’s comforting machismo in “The Man Who Shot Liberty Valence,” episodes of “Star Trek,” and especially “High Noon” (Buddy can’ help but see his own father as a Gary Cooper character faced with a deadly choice).
From Chitty Chitty Bang Bang (1968) to oldies such as High Noon (1952), the boy sat in the cinema wide-eyed with wonder.
In fact, “The Double,” in which the unlikely pair star, is a sleek, taut spy-thriller with echoes of “The Day of the Jackal.”
The Master (2012)
Directed by Paul Thomas Anderson
influenced by From Here to Eternity (1953)
Characters
At times Phoenix’s Freddie hearkens back to Montgomery Clift in “From Here to Eternity,” to name another James Jones tale.
Freddie gets drunk on torpedo engine fuel, grinds atop a sand mound shaped like a naked woman on the beach (a From Here to Eternity quote?) and masturbates into the ocean.
The most classically minded of America's young filmmakers, and the most prodigious, Anderson draws on John Huston and Elia Kazan, Fred Zinnemann's "From Here to Eternity" and George Stevens' "A Place in the Sun."
The Lord of the Rings: The Return of the King (2003)
Directed by Peter Jackson
influenced by From Here to Eternity (1953)
But the deleted material will end up on the DVD, and at the end of the day the film magically evokes the impact and spell of the novel -- and the completed trilogy compares with "Gone With the Wind" and "From Here to Eternity" as the screen's most successful literary adaptations.