Fred Zinnemann's views on "High Noon"

Fred Zinneman's High Noon (1952) was one of Hollywood's first psychological westerns, focusing on character rather than action. The story involves a town marshal (played by Gary Cooper) who faces a gang of notorious gunmen alone, after the townspeople refused to help him. High Noon is often seen as an allegory on the Hollywood blacklist. During production of the film, Carl Foreman —the film's screenwriter who was once a member of the Communist Party— was summoned before the House of Un-American Activities Committee (HUAC), the committee that was investigating communism in the USA in the early 1950s. Foreman refused to name names of his former Party members and was consequently labelled an "unfriendly witness" by HUAC and later blacklisted by the Hollywood studios. Foreman eventually wrote the script of High Noon as a metaphor for his own HUAC experience. Like the film's marshal who ends up standing alone, the screenwriter had found himself shunned by his friends and people in the industry with no one having the courage to back him. Knowing he would no longer be able to work in the USA, Foreman sold his partnership share to production partner Stanley Kramer, moved to England and would not return to the States until 1975. 

In his 1991 autobiography A Life in the Movies, director Fred Zinnemann gave his own point of view on High Noon, feeling Foreman's point of view was "narrow". Zinnemann had not intended his film to be a metaphor for McCarthyism and the Hollywood blacklist. Instead he thought:

There was something timely -and timeless- 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 -symbol of a democracy gone soft- 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.

Above: Gary Cooper as Marshal Will Kane walking down the streets of his town while looking for volunteers to help him fight the bad guys. Below: High Noon's director Fred Zinnemann (left) and screenwriter Carl Foreman. 

Three years prior to the publication of his autobiography, Fred Zinnemann had presented his views on High Noon in the following letter to Mr Caparros-Lera, a Spanish professor who worked at the University of Barcelona, Spain. The professor wanted to know what Zinnemann's intention was behind his film. Apart from the blacklist angle, some people believed High Noon was an allegory on the Korean War, a theory Zinnemann also refuted.

Source:  publicacions.ub.es

Note: 

Director Howard Hawks made his western Rio Bravo (1959) in response to High Noon, hating the way High Noon depicted its main character: "I didn't think a good sheriff was going to go running around town like a chicken with his head cut off asking for help, and finally his Quaker wife had to save him." Rio Bravo's leading man John Wayne agreed with Hawks and also hated High Noon, saying that "real cowboys didn't have mental problems, and didn't have time for this couch-work.” A staunch anti-communist and fervent supporter of HUAC, Wayne even found the film "the most un-American thing" and in an interview said he would "never regret having helped run Foreman out of the country". Quite ironically, when Gary Cooper won the Best Actor Oscar for High Noon but was unable to attend the awards ceremony, it was Wayne (a longtime friend of Cooper's) who accepted the Oscar on Cooper's behalf. (Incidentally, Cooper himself had been a "friendly witness" before HUAC but later became an ardent opponent of blacklisting.)

 

On the set of High Noon with Gary Cooper, Fred Zinnemann and Grace Kelly, the latter having her first major role as Cooper's young Quaker bride.

A new low in the treatment of directors

In June 1944, Jack Conway was hired to direct The Clock (1945), Judy Garland's first dramatic film since joining MGM ten years earlier. Due to illness Conway worked on the film for only one week and was then replaced by relative newcomer Fred Zinnemann. Garland and Zinnemann didn't get along and Garland complained to producer Arthur Freed about their incompatibility ("I don't know— he must be a good director, but I just get nothing. We have no compatibility", she reportedly said). After three weeks of shooting, Garland asked Freed to remove Zinnemann from the picture. Freed complied with the wishes of his star and at Garland's request hired Vincente Minnelli to continue the film. (Garland and Minnelli, who had dated during production of Meet Me in St. Louis (1944), would rekindle their romance during the filming of The Clock and got married a year later.)

On the set of The Clock-- pictured above: producer Arthur Freed and leading lady Judy Garland looking over the script/ below: Judy Garland and co-star Robert Walker listening to director Vincente Minnelli .

Unhappy with being removed from the film, Fred Zinnemann wrote the following letter to Vincente Minnelli on 28 August 1944. While Zinnemann harboured no ill feelings against Minnelli, he did think Garland "behaved pretty badly" and also had "great contempt for the conduct of Arthur Freed". In the end, The Clock became a success under Minnelli's direction (although not a huge box-office hit) and was also well received by the critics. Most of Zinnemann's disappointing footage was not used.

Via: icollector

Transcript:

August 28, 1944

Dear Vince—

Thanks very much for your very nice note. I was glad to have it— and I would like to assure you that I have no hard feelings against you. In fact I do not see what else you could have done under the circumstances, but to accept the assignment.

I wish I could look upon the whole thing as a joke, but somehow it doesn't strike me very funny. I think this incident marks a new low in the treatment of directors, in professional ethics, tact and consideration which a director has a right to expect.

I think that Judy has behaved pretty badly in this whole setup— and I have great contempt for the conduct of Arthur Freed- both as a producer and as a man.

However, for your sake and for the sake of Bob Walker and Bob Nathan*, I hope this turns out to be a very fine and very successful film. Please believe me when I say that I hold nothing but good thoughts and the best wishes for you. 

Once again, thanks for the note - and the very best of luck.

Fred Zinnemann

[* Robert Walker was the film's male lead and Robert Nathan the screenwriter.]

Fred Zinnemann would enjoy his greatest successes a decade later with such classics as High Noon (1952), From Here to Eternity (1953) and Oklahoma! (1955).

Casting Oklahoma!

On 21 September 1953, Oscar Hammerstein II wrote a letter to director Fred Zinnemann, expressing his concern over the slow casting process of Oklahoma!. Zinnemann had been hired to direct the film adaptation of Rogers and Hammerstein's successful Broadway show, and Hammerstein —he and Rogers were the film's (uncredited) executive producers— was eager to get the ball rolling. Interested to know how things stood with Paul Newman who was considered for the role of the male protagonist Curly, Hammerstein wrote: "I spoke to Dick Rogers on the 'phone yesterday and I was disappointed to hear that so little had been done since I left, he had no report on the young man in whom we were so interested (was his name Newman?) I hope you, Dick and Arthur will follow this up right away." [read the full letter here]. 

Shortly after receiving Hammerstein's letter, Zinnemann held two days of auditions with Paul Newman and several other actors. One of them was James Dean who, like Newman, was trying to land his first film role as cowboy Curly (admittedly, Dean had appeared in films before but these roles were uncredited). Also tested were Joanne Woodward for the female lead role of Laurey, Rod Steiger for the role of Jud, and a few others. On 30 September 1953, Zinnemann reported back to Hammerstein, informing him about the recently held screen tests. Zinnemann's letter is shown below and is especially noteworthy for his remarks on Newman and Dean. 

James Dean, Paul Newman, Joanne Woodward and Rod Steiger all auditioned for roles in "Oklahoma!", but only the latter was eventually cast.

Oscar Hammerstein II (left) and Fred Zinnemann on the set of "Oklahoma!".

Images letter via: Playbill Vault

Original source: Margaret Herrick Library, Academy of Motion Picture Arts and Sciences

Transcript:

September
30th
1953

Dear Oscar:

We had two full days of tests- Monday and Tuesday. I think that this is as good a time as any to report on my impressions. Arthur and I will not see the rushes until tomorrow, but I feel confident that seeing the rushes will not influence my present reactions. Also, tomorrow will be a very mixed-up day because I will be leaving for the coast and I am afraid that it would be impossible for me to write at that time.

Of the people tested, I was very much impressed with Eli Wallach, Rod Steiger, Joanne Woodward and James Dean (Curly). Wallach, I thought, was exceedingly original and yet he maintained the traditional feeling of "Oklahoma!". He was quite far away from any conventional acting and he got a great many laughs from the crew. I believe he could do extremely well as the Peddler, and I think it will be very difficult to improve on him.

Joanne has a lovely quality. It may be that she is a bit too wistful for the part, and perhaps she doesn't have quite the kind of radiance and vitality required for Laury. However, I was amazed at her ability to play the part believably- as though she were a very young and naive teenager.

Paul Newman is a handsome boy but quite stiff, to my disappointment. He lacks experience and would need a great deal of work. Still, in the long run he may be the right boy for us. He certainly has a most winning personality although I wish he had a little more cockiness and bravado. We were unable to shoot his love scene with Laury because we ran out of time and the kids had to get back to the show. They were not sufficiently up on it anyhow, and the scene would have been quite mediocre and would not have done them justice.

Rod Steiger, I feel, could make an excellent Jud. He has a real grasp of the character. He managed to make Jud an understandable human being. I believe he sets a standard of performance which will not be easy to improve upon.

Barbara Cook and Betty Garde both did quite well. Barbara Cook came off much better than I expected. Betty Garde is OK but does not have that extra quality of warmth and love which Marie Dressler could have given the part. Somehow I feel that we must find that kind of woman to play Aunt Eller. At any rate, we should test quite a few more Ado Annies, Aunt Ellers, Will Parkers and Laurys, not to mention Curlys.

We tested James Dean as Curly with Rufus Smith playing Jud. Dean seems to me to be an extraordinarily brilliant talent. I am not sure that he has the necessary romantic quality. Just the same I shot his scenes with great detail because I felt that with an actor of his calibre a standard of performance would be set up which would later on become very helpful as a reference and comparison. Also, in this scene I tried to work out a film approach to the characterizations of Jud and Curly. I would be very much interested to know what you think of the three characterizations as demonstrated by Wallach, Dean and Steiger after you have seen the rushes.

Before leaving I will see a number of actors Johnny has rounded up for Arthur and me. I understand that Johnny is not too sanguine about any of them, but on the other hand, he has not had a chance to work with them because of the tremendous demands on his time which Arthur and I have made.

I will be in California Friday night (October 2nd). I expect to return east around the 10th, on my way to the Caribbean. I will let you know the details just as soon as I know them.

Very best regards,

Ever,

Fred Zinnemann

FZ/bw

Mr. Oscar Hammerstein II
The Berkeley Hotel,
London, England



Notes

-The role of Curly finally went to Gordon MacRae in March 1954. Just before MacRae was chosen, Frank Sinatra was considered a serious contender. On 12 March, Zinneman wrote to producer Arthur Hornblow Jr.: "Oscar shares my feeling that Sinatra would be the ideal casting. He would like to bend every effort to see that we can get him". I'm not sure what happened with Sinatra, but by the end of the month it was MacRae who got the part. Zinnemann himself initially wasn't too happy with MacRae, as he wrote to casting director Barbara Wolferman on 24 March: "In regard to MacRae, you and I are in the minority and actually I am sure that he will do well and that the material will carry him along. It would have been wonderful to get an electric performance from somebody but I am afraid it is just not in the cards and at this late date we will just have to buckle down and do the best we can." [Zinnemann's full letter can be read here] 

-Despite Eli Wallach's impressive screen test, he did not get the part of Ali the Peddler; it was Eddie Albert who was eventually cast. The roles of Ado Annie and Aunt Eller, which Barbara Cook and Betty Garde auditioned for, respectively went to Gloria Grahame and Charlotte Greenwood. Rod Steiger did get the role of Jud, and it was 20-year-old Shirley Jones who was finally cast as Laurey.

I think that Gordon MacRae and Shirley Jones were good choices for the roles of Curly and Laurey. And nobody could have sung those songs better!

The Apartment: a favourite (movie-wise)

This post is my contribution to the My Favourite Classic Movie Blogathon in celebration of National Classic Movie Day, hosted by Classic Film and TV Cafe. Click here to check out all the other entries.

I don't really have a favourite movie. There are so many great movies, I find it very difficult to pick just one. But one of the films that has always ranked high on my list of favourites --one that I've seen many times and will certainly watch again-- is Billy Wilder's black comedy The Apartment (1960). There's so much to love about this film. The script by Billy Wilder and I.A.L. Diamond which contains the most brilliant lines ("That's the way it crumbles... cookie-wise", for one); the performances from the entire cast, in particular the leads Jack Lemmon and Shirley MacLaine; the crisp black-and-white cinematography by Joseph LaShelle; the wonderful music score by Adolph Dietsch -- all these elements, masterfully put together by Billy Wilder, make The Apartment a gem from start to finish. 

Back in 1960, the public also loved The Apartment. Audiences went to see the film en masse, making it a box-office hit immediately upon release. But it was not just a commercial success, the film was also lauded by the critics and by Wilder's peers. At the Oscar Ceremony in April 1961, The Apartment was awarded a total of five Oscars, three of which went to Wilder: Best Picture, Best Director and Best Screenplay (the latter he had to share with I.A.L. Diamond). To congratulate Wilder on the film and its success, many colleagues sent him letters and telegrams. Below you'll find some of the correspondence Wilder received, both in 1960 when the film was released and in 1961 after his big Oscar win. The correspondence comes from Sammy Davis Jr., Fred Zinnemann, Kirk Douglas, Alfred Hitchcock, Joan Crawford, John Sturges and Hal Wallis; the letter from Hitchcock has been posted on this blog before, but I thought it was nice to include it here as well.

Transcript: 

1960 MAR 16

BILLIE WILDER, SAMUEL GOLDWYN STUDIOS=

1040 NORTH FORMOSA DLR BY MSGR HOLLYWOOD CALIF=

DEAR BILLIE HAVE JUST SEEN YOUR TRADE AD FOR THE QUOTE APARTMENT UNQUOTE THE INDUSTRY HAS NOTHING TO WORRY ABOUT AS LONG AS THERE ARE PEOPLE LIKE YOU IN IT

MUCH LOVE=

SAMMY DAVIS JR.

Transcript:

1960 MAY 5

BILLY WILDER

1041 NORTH FORMOSA HOLLYWOOD CALIF=

DEAR BILLY: DAN TARADASH AND 19 OTHER PEOPLE HAVE TOLD ME "THE APARTMENT" IS ABSOLUTELY WONDERFUL WARMEST CONGRATULATIONS 

CORDIALLY=

FRED ZINNEMANN.

Note: Daniel Taradash was a screenwriter; his credits include Golden Boy (1939) and From Here to Eternity (1952).

Transcript:

Dear Billy-

I have to tell you again how thrilled I was about seeing your picture this evening. You've certainly eclipsed "Some Like It Hot"- no mean feat.

This is a great example of movie-making --the sharp comments on various phases of American life, the daring juxtaposition of comedy and tragedy, the incisive penetration into the soul of a woman in love with a married man, the direction that led to some magnificent performances all add up to make one of the greatest pictures I've ever seen.

Transcript:

June 29, 1960

Mr. Billy Wilder

10375 Wilshire Boulevard

Los Angeles, California

Dear Mr Wilder,

I saw THE APARTMENT the other day.

I cannot tell you how much I enjoyed it, and how beautifully made. 

I felt this so much that I was impelled to drop you this note.

Kindest regards,

(signed)

Alfred J. Hitchcock

Transcript:

October 10, 1960

Billy dear,

I have just seen "The Apartment". You have done the most adroit, professional, exciting, poignant, delightful film I have seen in years. Thank you for giving the industry the "goose" it needed, and thank you for the joy it has given, not only millions of people, but your friend--

Joan (signed)

Transcript:

April 18, 1961

Dear Billy:

It was a great pleasure to see you scoop up that family of little men. Particularly since the picture was a complete original- a rare and admirable thing.

Please include I.A.L. in my congratulations.

With all the best,

John (signed)

Mr. Billy Wilder

1041 N. Formosa

Hollywood 46, California

Transcript:

April 19, 1961

Dear Billy,

This is getting to be a habit, but I am sure it is one you have no objection to acquiring.

In any event, my fond regards and sincere congratulations on the well deserved Oscars.

Sincerely,

(signed)
Hal Wallis

Images of the telegrams and letters courtesy of Heritage Auctions (here and here).