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“... Fred Zinnemann’s movie, From Here to Eternity, came out in 1953. I saw it in 1955, when I was a conscript soldier in Hong Kong. Since it was a story about a peace-time army in an exotic station (Pearl Harbor, Hawaii), eventually surprised by the Japanese attack of 1941, it seemed to me and my fellow-rankers markedly relevant to our situation – though we were less unprepared for invasion and insurrection than those surprised Americans at Pearl Harbor ...”

“... like the Lumière brothers; veterans like Edward Dmytryk, Joris Ivens, Wolfgaang Staudte or Fred Zinnemann; younger directors like Peter Bogdanovich, Sergei Bondarchuk, Volker Schlöndorff or Andrzej Wajda? Why should Samuel Fuller rate more than twice as much space as Vittorio De Sica? Ah, says Roud, ‘the crash of De Sica’s reputation over the ...”

“... Christiana – and not just Christian but open to all spiritual experience. It was clever of Fred Zinnemann to pick her to play a penitent novice in his Audrey Hepburn film The Nun’s Story. This was during her picaresque period as a bolter from several rich lovers and fiancés, when she was earning her living as an extra at Cinecitta. Photographs ...”

“... them, as well as of one or two late acting cameos, notably those for John Huston in Moby Dick and Fred Zinnemann in A Man far All Seasons. Late Welles emerges as a man ‘doing too much, too many small things’, frequently bored and impatient, no longer willing to sweet-talk executives or feign interest in commercial considerations. Though capable of ...”

“... flatters their egotism. This reaction would surely have troubled Foreman, as well as the director, Fred Zinnemann, a left-wing social democrat whose unrealised final project was a movie of La Condition humaine. Only one other film of the period, Invasion of the Body Snatchers, has proved so susceptible of dual interpretation. Here the story carries a ...”

“... failure. The shape of Clift’s career has a tragic symmetry: eight early films, from Red River to Fred Zinnemann’s From Here to Eternity (1953), and then, after Edward Dmytryk’s Raintree County (1957), eight late films from Vincent Donehue’s Lonelyhearts (1958) to Raoul Lévy’s The Defector (1966), the caesura provided by the spectacular car ...”