Podcasts about zinnemann

Good evening, Mr. and Mrs. America and all ships at sea, and welcome to Episode 57 of Vintage Sand, our first of 2025. In this episode and the next one we return, for the penultimate time, to the source of some of our most popular episodes: Danny Peary's hard-to-find 1993 classic "Alternative Oscars". In the past, we have used Peary's model to approach every full decade in which the Academy has handed out Oscars except two: the 2010's, and the topic for this two-part episode, Alternate Oscars: The 1940's Edition. It's interesting that the 40's are considered to be the peak of Hollywood's Golden Age, yet many films that were beloved and honored back then have not well withstood the passage of time. The early part of the decade's most important development was the rise of the writer/director in Hollywood. Preston Sturges was the first, with his incredible run of films from 1940-1945, and he was followed quickly by the Billy Wilder/Charles Brackett team and, of course, that clever young fellow from the Mercury Theater. The 40's also marked the arrival of Hitchcock to these shores, and the rise to prominence of new directorial voices like Huston, Preminger, Zinnemann and Nicholas Ray. There were also many high points in the decade for well-established directors like Ford, Capra, Hawks, Lubitsch and Wyler. We have the incredible run of films between 1942 and 1946 made by Val Lewton's brilliant B-movie unit at RKO, and, of course, the birth of film noir, overseen predominantly by expats like Wilder, Lang, Preminger, Ulmer, Lewis and Siodmak. The latter half of the decade, which we will cover in Episode 58 in February, saw two major developments. The end of the war saw the return to strength of many European film industries as well as studio filmmaking in Japan. In France, in the wake of 1945's miraculous "Les Enfants du Paradis", directors as different as Cocteau, Clouzot and Bresson began or restarted their careers. This explosion of creativity was matched in the UK, with the arrival of Lean, Reed, and especially with the flowering of the Powell-Pressburger Archers team. Clearly, though, the most important such event was the rise of what today is called Italian Neo-Realism, as directors like Rossellini, De Sica, and to a lesser extent Visconti, created a brand new way to tell stories on film that is still influencing directors today. The second big change of the late 40's was really two changes in one: the landmark Paramount court case in 1948 that ended the vertical monopoly the studios had long held as owners of theater chains as well, and the mass arrival of television. Between 1948 and 1952, Hollywood lost nearly half of its audience, bringing down the curtain on that so-called “Golden Age” of Hollywood. In terms of the Oscars, the Academy made solid choices for Best Picture--they certainly picked better films than they did in the 1930's! These included enduring works like "The Best Years of Our Lives", "All the King's Men" and especially, "Casablanca". Who could argue with that? (Hint: us.) But there were plenty of head scratchers as well. Prestige choices like "How Green Was My Valley", "Mrs. Miniver" and Olivier's "Hamlet" look a little creaky these days. Hell, we might argue that "Rebecca" was not even Hitchcock's best film of 1940! And the less said about "Going My Way" and "Gentlemen's Agreement", the better. So kick back, round up the usual suspects, and help us make this podcast more important than the gas in that light…

What do you get when you team 3 STARS - COOPER, HEPBURN, & TAYLOR with 3 all-time great DIRECTORS in WYLER, ZINNEMANN, & MANN?  Three amazing films, of course, in "The Nun's Story," "Friendly Persuasion," & "Devil's Doorway."  George Feltenstein of the Warner Archive joins the podcast to review these three classics from the 1950s that now look better than ever in high-definition Blu-ray.  We go through the superb performances in each film, the keen-eyed direction from these film masters, and the fantastic restoration and package of extras that the Warner Archive has created for each release.Purchase links:THE NUN'S STORY (1959)FRIENDLY PERSUASION (1956)DEVIL'S DOORWAY (1950)  Past Present FeatureA filmmaker appreciation podcast hosted by Emmy-winning director...Listen on: Apple Podcasts SpotifyThe Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Danny Jarabek joins Brian for a discussion of The Day of the Jackal, directed by Oscar winner Fred Zinnemann! They also talk about Zinnemann's extraordinary career and pick his three best films. THE DAY OF THE JACKAL is available on YouTube: https://www.youtube.com/watch?v=fVjBUW6qXDM

Un gelido sicario senza identità minaccia la vita del Presidente DeGaulle. Riusciranno i servizi segreti francesi a identificare e fermare il misterioso e infallibile Sciacallo prima che elimini il suo bersaglio? Zinnemann realizza un thriller/action tesissimo e interpretato alla stragrandissima da Michael Lonsdale e Edward Fox, che regala al grande schermo uno dei cattivi più terribili di sempre. Il giorno dello Sciacallo è un film estremamente avvincente che si aggiunge ad un anno davvero florido per il cinema. Una pellicola invecchiata benissimo e purtroppo remakizzata in maniera vergognosa da Michael Caton Jones con l'imbarazzante The Jackal, interpretato da Bruce Willis e Richard Gere, che non avevano manco un'unghia del carisma del cast originale. Se non l'avete mai visto fate 30 volte mea culpa sui ceci, ascoltate la recensione e poi recuperate subito questo gioiello del genere spionaggio.

Se cumplen 25 años del fallecimiento de Fred Zinnemann, uno de los grandes directores del Hollywood clásico, responsable de películas como ‘Solo ante el peligro' o ‘De aquí a la eternidad'. Un aniversario que nos invita a recordar su cine y su figura. Seguimos repasando la carrera internacional de los nominados españoles este año a los Oscar. Javier Bardem es candidato al mejor actor por su papel en la película ‘Ser los Ricardo', lo que supone su cuarta nominación  y la posibilidad de hacer doblete tras la estatuilla que ya ganó en 2008 como actor de reparto por ‘No es país para viejos'. Hemos charlado con el actor Nicolás Gaude que está representando en los escenarios la obra ‘Pura' en la que, entre otras cosas, se habla de esos cines históricos que han cerrado y se han convertido en supermercados o tiendas de ropa. Y en la sección de Jack Bourbon un musical de este siglo: ‘Moulin Rouge' la película de Ewan McGregor y Nicole Kidman.

Analisamos um dos melhores westerns de todos os tempos, dirigido por Fred Zinnemann e estrelado por Gary Cooper e Grace Kelly.   No episódio #24, o podcast Em Foco analisa um dos melhores westerns de todos os tempos: "Matar ou Morrer" (High Noon, 1952), dirigido por Fred Zinnemann e estrelado por Gary Cooper, Grace Kelly, Katy Jurado, Thomas Mitchell e Lloyd Bridges. O longa é vencedor de quatro estatuetas do Oscar: Melhor Ator (Cooper), Melhor Montagem (Elmo Williams e Harry Gerstad), Melhor Música (Dimitri Tiomkin) e Melhor Canção Original, a icônica "High Noon (Do Not Forsake Me, Oh My Darlin')".   Escrito por Carl Foreman (roteirista vencedor do Oscar por "A Ponte do Rio Kwai" e perseguido pelo Macarthismo), "Matar ou Morrer" tem como protagonista o xerife Will Kane, que justo no momento em que se prepara para se aposentar e partir em lua de mel com sua esposa recebe a notícia de que um antigo inimigo está voltando à cidade para se vingar. Kane pede ajuda dos moradores para enfrentar o bandido, mas ninguém parece disposto a ficar ao seu lado.   No programa, analisamos o uso estratégico da passagem do tempo, a estrutura narrativa emprestada da tragédia grega, as interessantes escolhas estéticas de Zinnemann, a força das personagens femininas, além de trazermos curiosidades sobre os bastidores.   Participam deste podcast: Renato Silveira, Kel Gomes, Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG, e Heitor Capuzzo, também professor de Cinema, escritor e crítico, autor dos livros “O Cinema Além da Imaginação”, “Alfred Hitchcock: O Cinema em Construção” e “Lágrimas de Luz: O Drama Romântico no Cinema”.   “Matar ou Morrer” foi escolhido como tema deste episódio por nossos apoiadores em uma enquete de escolha de pauta. Para esta edição, a enquete contou com curadoria da Ana Lúcia Andrade. A lista de títulos elaborada por ela também trazia “Psicose” (Psycho, 1960), de Alfred Hitchcock, “A Época da Inocência” (The Age of Innocence, 1993), de Martin Scorsese, “O Som ao Redor” (2012), de Kleber Mendonça Filho, e “Estou Me Guardando para Quando o Carnaval Chegar” (2019), de Marcelo Gomes. “Matar ou Morrer” venceu com 33,3% dos votos.   - Visite a página do podcast no site e confira material extra sobre o tema do episódio!   - Receba nossa newsletter e conteúdo exclusivo de cinema! Saiba mais!   Quer mandar um e-mail? Escreva seu recado para contato@cinematorio.com.br.   No Em Foco, você ouve debates e análises de filmes, sejam eles clássicos, grandes sucessos de bilheteria e de crítica, produções que marcaram época ou que foram redescobertas com o passar dos anos, não importa o país de origem. Além disso, você revisita conosco a filmografia de cineastas que deixaram sua assinatura na história do cinema.

Analisamos um dos melhores westerns de todos os tempos, dirigido por Fred Zinnemann e estrelado por Gary Cooper e Grace Kelly.   No episódio #24, o podcast Em Foco analisa um dos melhores westerns de todos os tempos: "Matar ou Morrer" (High Noon, 1952), dirigido por Fred Zinnemann e estrelado por Gary Cooper, Grace Kelly, Katy Jurado, Thomas Mitchell e Lloyd Bridges. O longa é vencedor de quatro estatuetas do Oscar: Melhor Ator (Cooper), Melhor Montagem (Elmo Williams e Harry Gerstad), Melhor Música (Dimitri Tiomkin) e Melhor Canção Original, a icônica "High Noon (Do Not Forsake Me, Oh My Darlin')".   Escrito por Carl Foreman (roteirista vencedor do Oscar por "A Ponte do Rio Kwai" e perseguido pelo Macarthismo), "Matar ou Morrer" tem como protagonista o xerife Will Kane, que justo no momento em que se prepara para se aposentar e partir em lua de mel com sua esposa recebe a notícia de que um antigo inimigo está voltando à cidade para se vingar. Kane pede ajuda dos moradores para enfrentar o bandido, mas ninguém parece disposto a ficar ao seu lado.   No programa, analisamos o uso estratégico da passagem do tempo, a estrutura narrativa emprestada da tragédia grega, as interessantes escolhas estéticas de Zinnemann, a força das personagens femininas, além de trazermos curiosidades sobre os bastidores.   Participam deste podcast: Renato Silveira, Kel Gomes, Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG, e Heitor Capuzzo, também professor de Cinema, escritor e crítico, autor dos livros “O Cinema Além da Imaginação”, “Alfred Hitchcock: O Cinema em Construção” e “Lágrimas de Luz: O Drama Romântico no Cinema”.   “Matar ou Morrer” foi escolhido como tema deste episódio por nossos apoiadores em uma enquete de escolha de pauta. Para esta edição, a enquete contou com curadoria da Ana Lúcia Andrade. A lista de títulos elaborada por ela também trazia “Psicose” (Psycho, 1960), de Alfred Hitchcock, “A Época da Inocência” (The Age of Innocence, 1993), de Martin Scorsese, “O Som ao Redor” (2012), de Kleber Mendonça Filho, e “Estou Me Guardando para Quando o Carnaval Chegar” (2019), de Marcelo Gomes. “Matar ou Morrer” venceu com 33,3% dos votos.   - Visite a página do podcast no site e confira material extra sobre o tema do episódio!   - Receba nossa newsletter e conteúdo exclusivo de cinema! Saiba mais!   Quer mandar um e-mail? Escreva seu recado para contato@cinematorio.com.br.   No Em Foco, você ouve debates e análises de filmes, sejam eles clássicos, grandes sucessos de bilheteria e de crítica, produções que marcaram época ou que foram redescobertas com o passar dos anos, não importa o país de origem. Além disso, você revisita conosco a filmografia de cineastas que deixaram sua assinatura na história do cinema.

Western Author Wes Rand talks to host Steve Mazan about the classic Gary Cooper/Howard Zinneman film "High Noon"...a film that would win Cooper an Oscar and possibly send the screenwriter to Europe. Was this whole story an allegory for the Red Scare? Did John Wayne wanna be in this movie or not? What does this film have to do with the Wilhelm Scream and a Flying Purple People Eater? Is there anything dirtier than a Quaker who turns? How influential is this movie...even today? All these questions and more get answered on this week's Mazan Movie Club podcast.  "High Noon" on IMDb Wes Rand's books Home of the Mazan Movie Club Steve Mazan on Facebook Steve Mazan Corporate Comedian Website 

Un hombre camina por la calle polvorienta de un pueblo despreciable. Su traje negro contrasta con el blanco de un sol asfixiante. Va armado pero tiene miedo porque está solo. El polvo se adhiere a sus botas como preámbulo de su muerte más que segura, como si la tierra tuviera prisa para cubrir su cuerpo. La cadena de un reloj cuelga de su chaleco advirtiéndole, a cada paso que da, que le queda un segundo menos de vida. Sus pasos se van trazando entre el temor y la inapelable decisión de honradez que ha tomado. Sus ojos, sinceros, escrutan la calle de un lado a otro en busca de un arma que le haga compañía y, también, de la bala que llevará su nombre. Es muy alto y el sol, allá justo en el mediodía, proyecta su sombra oblicua en varias direcciones a la vez, como si se tratara de un fantasma difuminado en su propio estado etéreo, como si comenzara a entrar en la muerte. A la altura del corazón, una estrella que no brilla y que acabará despreciando en un gesto de hombría desprovisto de énfasis. A su alrededor, una mujer que no entiende que él sea capaz de defender algo que, simplemente ya no es suyo y que ponga en riesgo su propia felicidad por cumplir un supuesto deber moral. Una antigua amante, despechada por su abandono, que en el fondo sigue enamorada de él y que guarda una profunda admiración por su honestidad y su orgullo. Un ayudante que siempre se ha sentido aplastado por su aura de hombre bueno y valiente, más allá de toda consideración, consciente de su deber y que no huye. ¿Por qué no huye? Maldito, Kane. Que se vaya del pueblo y entonces yo tendré mi oportunidad de hacerme valer. Un amigo que piensa que los que vienen traerán más prosperidad al pueblo y que, por tanto, él tendría que irse. Intereses creados. Falsedades humanas. Bajeza moral por el siempre reprochable dinero. Kane, vete o muere. Fred Zinnemann dirigió esta película con guión de Carl Foreman como metáfora épica sobre el maccarthysmo y el miedo y la indiferencia que se instalaban en Hollywood mientras el fascismo se hacía sitio por su noviazgo con el capital. Y consiguió hacer que Gary Cooper estuviera hundido en su mirada, desesperado en su acción, arado en su rostro tan cercano al miedo cerval. Y así la película se incrustó con enorme coherencia dentro de la filmografía del director, obsesionado con ofrecer retratos de hombres que tenían que enfrentarse a acontecimientos que les sobrepasaban. Al fondo, el triunfo siempre era dudoso. Kane quizá consiga sobrevivir pero algo muere dentro de él. Tal vez la confianza en las personas, o puede que la seguridad en los amigos. Ya no volverá a ser el mismo porque dejó una estrella tirada en la calle de Hadleyville como símbolo del desprecio que siente por la gente que prefirió el caos y el desorden como medio para la prosperidad antes que la justicia y la defensa de lo que siempre estuvo a su lado. Y Kane lo estuvo. Cumplió con su deber. Fue ley y fue orden. Fue sinceridad. Fue lo que le pedían que fuera. Y, al final, hace lo que pide su propia integridad. Y no es fácil. Porque está solo. César Bardés Esta noche pedimos ayuda en Radiopolis, con la estrella de latón en el pecho... José Miguel Moreno, Raúl Gallego y César Bardés.

Edición 87 de La Gran Evasión, 31/5/2016. En este título mítico Zinemann nos lleva de la mano por la vida de cuatro perdedores, de cuatro almas desvalidas que pelean por una segunda oportunidad, por ese amor imposible, en un lugar que cambió la historia de la guerra y del mundo, un puñado de inadaptados intentan encontrar su sitio, es difícil cambiar lo que eres, y les tocará perder otra vez... La vida castrense es ensalzada y también cuestionada, en este clásico, dirigido magistralmente por Zinnemann, con un elenco insuperable, destacar la figura de Burt Lancaster, la sinceridad de Donna Reed, esos ojos empañados de tristeza de Montgomery Clift, la carnal Deborah Kerr, Frank Sinatra, Ernest Borgnine,...maravilloso reparto. La corrupción y la mezquindad de los hombres queda solapada por la amistad, por hacer lo que tu conciencia te dicte, de fondo el patriotismo, de fondo está la bandera americana ondeando, pero no es un panfleto, no es una pose, la historia y la película cuestionan esa vida idílica que los americanos disfrutaban justo después de la guerra, está escrita para revelar que ese país perfecto esconde miserias, injusticias, prejuicios, soledades....y tanta gente perdida, que busca un instante de paz, un instante de felicidad, de amor... Nos bañamos en esa playa de Hawai, mientras el cielo se llena de pasión y soledad... a la dirección José Miguel Moreno, contertulios Chary Medina, Manuel Broullón, Gervi Navío y tocando silencio, derramando lagrimas de cine y ardor, nuestro crítico César Bardés.

“High Noon” is often cited as one of the greatest westerns ever made, and a lot of that praise is likely because it was so different from other westerns at the time. It was bleak and black-and-white. There was hardly any action in it. And it was a character piece. This story didn't have to be set in the old west – it could work in many genres (as we'll explore next week). It's more about the protagonist and his struggle to stay true to what he believes in the face of incredible odds. Join us – Pete Wright and Andy Nelson – as we kick off our Movies and Their Remakes series with Fred Zinnemann's 1952 classic “High Noon.” We talk about why this film works, but more specifically why it doesn't work as well for us on this most recent rewatch. We chat about Gary Cooper and our struggles with him as an actor, despite him being such a popular performer. We discuss the history of this script and story, and how it got tangled up with HUAC. We talk about Zinnemann and his cinematographer Floyd Crosby, the look they went for in the film, what they did with the camera and why they didn't do more of it. We touch on the earworm of a song and how it really saved the movie. And we deliberate on the nature of real-time storytelling and its implications in making a gripping yarn. It's a classic, to be sure, but not one that was at the top of our lists. Inevitably, problems with a film make for a great conversation so make sure you check out the movie and tune in!

“High Noon” is often cited as one of the greatest westerns ever made, and a lot of that praise is likely because it was so different from other westerns at the time. It was bleak and black-and-white. There was hardly any action in it. And it was a character piece. This story didn't have to be set in the old west – it could work in many genres (as we'll explore next week). It's more about the protagonist and his struggle to stay true to what he believes in the face of incredible odds. Join us – Pete Wright and Andy Nelson – as we kick off our Movies and Their Remakes series with Fred Zinnemann's 1952 classic “High Noon.” We talk about why this film works, but more specifically why it doesn't work as well for us on this most recent rewatch. We chat about Gary Cooper and our struggles with him as an actor, despite him being such a popular performer. We discuss the history of this script and story, and how it got tangled up with HUAC. We talk about Zinnemann and his cinematographer Floyd Crosby, the look they went for in the film, what they did with the camera and why they didn't do more of it. We touch on the earworm of a song and how it really saved the movie. And we deliberate on the nature of real-time storytelling and its implications in making a gripping yarn. It's a classic, to be sure, but not one that was at the top of our lists. Inevitably, problems with a film make for a great conversation so make sure you check out the movie and tune in!

“People’ve gotta talk themselves into law and order before they do anything about it, maybe because down deep, they don’t care – they just don’t care.” “High Noon” is often cited as one of the greatest westerns ever made, and a lot of that praise is likely because it was so different from other westerns at the time. It was bleak and black-and-white. There was hardly any action in it. And it was a character piece. This story didn’t have to be set in the old west – it could work in many genres (as we’ll explore next week). It’s more about the protagonist and his struggle to stay true to what he believes in the face of incredible odds. Join us – Pete Wright and Andy Nelson – as we kick off our Movies and Their Remakes series with Fred Zinnemann’s 1952 classic “High Noon.” We talk about why this film works, but more specifically why it doesn’t work as well for us on this most recent rewatch. We chat about Gary Cooper and our struggles with him as an actor, despite him being such a popular performer. We discuss the history of this script and story, and how it got tangled up with HUAC. We talk about Zinnemann and his cinematographer Floyd Crosby, the look they went for in the film, what they did with the camera and why they didn’t do more of it. We touch on the earworm of a song and how it really saved the movie. And we deliberate on the nature of real-time storytelling and its implications in making a gripping yarn. It’s a classic, to be sure, but not one that was at the top of our lists. Inevitably, problems with a film make for a great conversation so make sure you check out the movie and tune in! Film Sundries Watch this film: iTunes • Amazon • Hulu Shooting Script Original theatrical trailer Original poster artwork Art of the Title — Iginio Lardani Flickchart Do Not Forsake Me, Oh My Darlin’ — Tex Ritter Trailers of the Week Pete’s Trailer: Pandemic — “From the looks of it, this is 100% first person. Very strange feeling with this one, but it fits my zombie vibe and has Rachel Nichols and Mekhi Phifer. I feel like I’ve been on a good run with indie outbreak films lately so fingers crossed this one stands up.” Andy’s Trailer: Green Room — “I know it’s just a teaser, but with Jeremy Saulnier at the helm and Patrick Stewart going dark as an evil skinhead, I didn’t need anything else. Give me my ticket right now!”

“People've gotta talk themselves into law and order before they do anything about it, maybe because down deep, they don't care – they just don't care.” “High Noon” is often cited as one of the greatest westerns ever made, and a lot of that praise is likely because it was so different from other westerns at the time. It was bleak and black-and-white. There was hardly any action in it. And it was a character piece. This story didn't have to be set in the old west – it could work in many genres (as we'll explore next week). It's more about the protagonist and his struggle to stay true to what he believes in the face of incredible odds. Join us – Pete Wright and Andy Nelson – as we kick off our Movies and Their Remakes series with Fred Zinnemann's 1952 classic “High Noon.” We talk about why this film works, but more specifically why it doesn't work as well for us on this most recent rewatch. We chat about Gary Cooper and our struggles with him as an actor, despite him being such a popular performer. We discuss the history of this script and story, and how it got tangled up with HUAC. We talk about Zinnemann and his cinematographer Floyd Crosby, the look they went for in the film, what they did with the camera and why they didn't do more of it. We touch on the earworm of a song and how it really saved the movie. And we deliberate on the nature of real-time storytelling and its implications in making a gripping yarn. It's a classic, to be sure, but not one that was at the top of our lists. Inevitably, problems with a film make for a great conversation so make sure you check out the movie and tune in! Film Sundries Watch this film: iTunes • Amazon • Hulu Shooting Script Original theatrical trailer Original poster artwork Art of the Title — Iginio Lardani Flickchart Do Not Forsake Me, Oh My Darlin' — Tex Ritter Trailers of the Week Pete's Trailer: Pandemic — “From the looks of it, this is 100% first person. Very strange feeling with this one, but it fits my zombie vibe and has Rachel Nichols and Mekhi Phifer. I feel like I've been on a good run with indie outbreak films lately so fingers crossed this one stands up.” Andy's Trailer: Green Room — “I know it's just a teaser, but with Jeremy Saulnier at the helm and Patrick Stewart going dark as an evil skinhead, I didn't need anything else. Give me my ticket right now!”

A conversation with producer and first A.D. Tim Zinnemann. He shares his experiences working on the famous Steve McQueen car chase in Bullitt as well as the visually stunning sequences in the John Schlesinger film The Day of the Locust.

Edition #46 of the T100P is the star-studded From Here To Eternity. Boxing, bullets, bugles, babes, buddies, and bombs before breakfast, this one has almost everything that starts with a B. It also has Burt (Lancaster) in his only AFIer and Monty Clift in his last. Activate!

For the first time since last August, we’re in the old west. Our 44th Top 100 podcast finds Gary Cooper fighting for his life in High Noon. The highly regarded western is on eight (8!) different AFI lists, so they obviously dig it. What about the T100P perspective? Well, stand up for what’s right and listen to our take!