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finest phase, showing considerable courage by making Gentle-
men’s Agreement (1947), a film that attacked anti-Semitism, and
Pinky (1949), a movie that dealt with racism in America.
He continued to produce critical and commercial suc-
cesses during the early 1950s with films such as All About Eve
(1950) and Viva Zapata! (1952), and he made yet another con-
tribution to the movies when he brought CinemaScope to
Hollywood. Finally, in 1956, he chose to become an inde-
pendent producer, releasing his films through Twentieth Cen-
tury–Fox. He was not terribly successful, but he came through
when the studio needed a hit, making the big-budget block-
buster The Longest Day (1962), just as Twentieth Century–Fox
was hemorrhaging from the
CLEOPATRA
(1963) disaster.
Asked to return to the helm of the studio he had founded,
the old mogul rode to the rescue—at least temporarily. He
became president and appointed his son, Richard Darryl
Zanuck, to his old job as vice president in charge of produc-
tion. Zanuck guided the company out of the financial desert
thanks to the huge success of The Sound of Music (1965), but
by the late 1960s, several major bombs began to bring prof-
its down again.
The last film Zanuck personally produced was Tora! Tora!
Tora! (1970), an attempt at duplicating the success of The
Longest Day. Though some of the film was truly spectacular,
it was neither a critical nor a commercial hit, though footage
from it has often been used in subsequent war movies. Mean-
while, Zanuck was caught in a bitter battle for control of the
studio. His son was forced out of the company, but he hung
on, eventually resigning under pressure in 1971. He became
chairman emeritus, and was finally put out to pasture.
See also
CINEMASCOPE
;
GENTLEMEN
’
S AGREEMENT
;
THE GRAPES OF WRATH
;
RIN TIN TIN
;
SCHENCK
,
JOSEPH
M
.;
TWENTIETH CENTURY
–
FOX
;
WARNER BROS
.;
ZANUCK
–
BROWN
.
Zanuck–Brown The highly successful producing team
of Richard Darryl Zanuck (1934– ) and David Brown
(1916– ) has given birth to 15 films, among them a number
of Hollywood’s biggest hits, including The Sting (1973), Jaws
(1975), The Verdict (1982), and Cocoon (1985).
Richard Zanuck, the better-known member of the team,
is the son of the late Darryl F. Zanuck, the longtime head of
Twentieth Century–Fox. Brought up in the movie business,
the younger Zanuck was given the opportunity to assist in
the production of such Fox films as The Sun Also Rises (1957)
before becoming a producer in his own right and making
such movies as Compulsion (1959) and The Chapman Report
(1962). He also worked directly with his father on the epic
war film The Longest Day (1962), eventually rising to become
the head of production at Fox in 1967 and, later, the com-
pany’s president, in 1969. It was a short-lived reign, however,
as he was dumped in 1970. After a short tenure at Warner
Bros., he and David Brown teamed up and released their first
films in 1973.
David Brown had long been a member of the Twentieth
Century–Fox management team, heading up the story
department in 1952 after an early career in publishing (his
wife, Helen Gurley Brown, succeeded him as editor of Cos-
mopolitan magazine). During his tenure at Fox, he became a
top executive, working in tandem with both Darryl Zanuck
and, later, Richard Zanuck.
The Zanuck–Brown partnership did not produce all hits
or high-gloss efforts. Their first film was a low-budget hor-
ror movie titled Sssssss (1973), followed by a cheap exploita-
tion film, Willie Dynamite (1973). Their third film of that
year, The Sting, starring
PAUL NEWMAN
and
ROBERT RED
-
FORD
, was a critical and box-office smash, putting them
firmly on the Hollywood map.
To the producers’ credit, their box-office bombs, such as
The Black Windmill (1974), MacArthur (1977), and Target
(1985), are hardly boring and did not flop for want of trying.
Significantly, Zanuck and Brown have sometimes been willing
to invest in untried, but creative people. For instance, they
gave a young
STEVEN SPIELBERG
one of his early breaks when
they allowed him to direct The Sugarland Express (1974).
Although the film received generally favorable reviews, it died
at the box office. It was worth Zanuck-Brown’s investment,
however, because they called on Spielberg again to direct
Jaws. Zanuck-Brown also took a chance and made Cocoon, a
movie starring a cast of elderly actors, directed by the rela-
tively young Ron Howard, and turned it into a major hit.
The Zanuck–Brown strategy was extremely conservative
at times, conforming, for example, to the Hollywood pen-
chant for sequels with Jaws 2 (1978) and Cocoon 2 (1988).
In 1988, after a 15-year partnership, Zanuck-Brown was
dissolved, and the two producers went their separate ways.
See also
TWENTIETH CENTURY
–
FOX
;
ZANUCK
,
DARRYL F
.
Zemeckis, Robert L. (1952– ) Robert Zemeckis is
slick, commercial, unfailingly on target. He makes movies,
not films. More cash cow than artiste, Zemeckis has sur-
passed even
STEVEN SPIELBERG
on occasion in his ability to
produce the “right” seasonal blockbuster. Zemeckis is the
personification of what, for most people, Hollywood means.
Born in Chicago on May 14, 1952, and educated at
Northern Illinois University, he attended the University of
Southern California (USC) to major in film at a school with
close industry ties, and it was at USC that he met his collab-
orator, Bob Gale. Together they worked on such television
series as McCloud and The Night Stalker. By 1979, they were
writing the screenplay for the goofiest movie Spielberg ever
made, 1941, which flopped at the box office. Nonetheless, it
was funny, for those patient enough to stay with it, to see the
Japanese find their compass and the jitterbug sequence at the
center of the picture.
The first two films Zemeckis directed didn’t earn much
attention: I Wanna Hold Your Hand (1978) was followed by
Used Cars (1980), the first of these cashing in on Beatles nos-
talgia. Zemeckis began to hit his stride, however, with
Romancing the Stone (1984), with
KATHLEEN TURNER
and
MICHAEL DOUGLAS
, which was popular enough to produce a
sequel (directed by Lewis Teague), Jewel of the Nile (1985).
Zemeckis called on Kathleen Turner again to use her voice
for the cartoon character Jessica in Who Framed Roger Rabbit?
ZEMECKIS, ROBERT L.
477
(1988), a “cute” experiment that combined animation with
live-action footage—a trivial exercise, but a successful one
that grossed nearly $350 million. The film won an Academy
Award for its special effects, further enhancing Zemeckis’s
reputation. Even more successful, however, was his nostalgic
Back to the Future trilogy (1985–90).
Zemeckis really hit his stride with his epic Forrest Gump
(1994), starring
TOM HANKS
as a likable simpleton who sur-
vives by his wits. This exercise in sentimentality won the
hearts of the nation and the Motion Picture Academy, which
granted Gump five
ACADEMY AWARDS
, including Best Actor,
Best Picture, and Best Director. Zemeckis scored again with
Tom Hanks in Cast Away (2000), a sentimental Robinson
Crusoe story featuring Hanks as a faithful FedEx employee
who is marooned on a desert island and lives by his wits, with
only a soccer ball named Wilson for company. Not all of
Zemeckis’s films have had the golden touch. Few viewers
were charmed by the bizarre comedy Death Becomes Her
(1992), despite the presence of
MERYL STREEP
,
GOLDIE
HAWN
, and
BRUCE WILLIS
. In What Lies Beneath (2000),
Zemeckis fell short of becoming a master of suspense because
all that “lies beneath” this suspense picture starring Michelle
Pfeiffer and
HARRISON FORD
is the memory of
ALFRED
HITCHCOCK
, whose work it attempts to imitate and exploit.
Even so, the film grossed more than $155 million, proving
that even his failures make money.
Zemeckis is at his best when working on upbeat, opti-
mistic projects such as Contact (1997), based on Carl Sagan’s
best-selling novel about alien contact and starring
JODIE FOS
-
TER
as a star-struck astronomer and Matthew McConaughey
as her goofy love interest. For this one, Zemeckis got away
with an ambiguous ending, and the film grossed more than
$100 million.
Zinnemann, Fred (1907–1997) He was an iconoclas-
tic director with a reputation for making thoughtful, intelli-
gent films, which some criticized for a lack of warmth. One
could also argue that the apparent coolness of Zinnemann’s
films was more a matter of restraint than lack of feeling.
Many of the director’s films tend to have a slow pace and a
distant, objective viewpoint. This comes from his training as
a documentary filmmaker with the legendary Robert Fla-
herty of Nanook of the North (1922) fame. Zinnemann’s semi-
documentary style has often served him well, however, giving
his best films a strikingly realistic feeling.
Born in Vienna on April 29, 1907, Fred Zinnemann was
first headed toward a career as a lawyer, but changed his
mind: “When I received my master’s degree in law in 1927,”
he told Rev. Gene D. Phillips, “I felt that I would be bored
stiff working in law the rest of my life. So I decided to try a
career that would be more adventurous, and decided to
attend the Technical School for Cinematography in Paris.”
After film school, Zinnemann went to Germany to find
work as an assistant cameraman. By 1929, he had joined a
team that included Robert Siodmak and
BILLY WILDER
to
make Menschen am Sonntag (People on Sunday), a semidoc-
umentary about four young people spending a weekend in
the country. All of these young men would eventually end
up in Hollywood.
In Hollywood, Zinnemann met documentary pioneer
Robert Flaherty in 1929 and was able to put what Flaherty
taught him into his first directorial assignment, a semidocu-
mentary entitled The Wave (1935), which was intended to
show how fishermen lived and worked in the Gulf of Vera
Cruz, where Zinnemann had spent a year. By 1937, he was
working for the Short Subject Department at MGM, and by
1941, he had been promoted to feature filmmaking. Zinne-
mann described his first feature film, The Kid Glove Killer, as
“a police story with an offbeat suspense angle: The audience
knew the killer from the start.” This was a challenge that he
would face 30 years later with The Day of the Jackal (1973),
made when Zinnemann was in his prime.
By 1944, Zinnemann was directing
SPENCER TRACY
as an
escapee from a German concentration camp in The Seventh
Cross. Thereafter, Zinnemann was invited to Europe to make
The Search (1948), a film about displaced European children
after World War II that earned him an Oscar nomination as
Best Director. Back in Hollywood, Zinnemann directed Act
of Violence (1948) and The Men (1949) before proving himself
as a successful popular director with High Noon (1952).
Other popular films followed—Member of the Wedding
(1953), Oklahoma! (1955), A Hatful of Rain (1957), The Nun’s
Story (1959), The Sundowners (1960), and Behold a Pale Horse
ZINNEMANN, FRED
478
Robert Zemeckis on the set of Death Becomes Her (1992)
(PHOTO COURTESY UNIVERSAL STUDIOS)
(1964)—but these would pale in comparison to Zinnemann’s
very best films, such as From Here to Eternity (1953), scripted
by Dan Taradash from the war novel by James Jones and star-
ring
MONTGOMERY CLIFT
as a private in the Pacific theater
who refuses to give in to brutal authority. Eternity swept the
ACADEMY AWARDS
, winning Oscars for Best Picture and Best
Director. A dozen years later, Zinnemann would also impress
the academy with his adaptation of Robert Bolt’s excellent
play about Sir Thomas More, A Man for All Seasons (1966),
dramatizing the conflict between More (Paul Scofield) and
King Henry VIII over the issue of the king’s desire to divorce
Catherine of Aragon. Once again, Zinnemann was honored
with a Best Director Oscar, and the film also garnered Oscars
for Best Screenplay (Robert Bolt), Best Actor (Paul Scofield),
and Best Picture, another sweep.
After several years’ absence from the screen, Zinnemann
returned in 1973 to make The Day of the Jackal, a hit thriller
about a trained assassin. Four years later, he inherited a proj-
ect intended for
SYDNEY POLLACK
, Julia (1977), with
JANE
FONDA
and Vanessa Redgrave. His next film, Five Days One
Summer, was based on Kay Boyle’s short story, “Maiden,
Maiden,” concerning a Scots doctor (
SEAN CONNERY
) and
his young mistress (Betsy Brantley) on holiday in the Alps,
mountain climbing with a Swiss guide (Lambert Wilson).
Physical and psychological complications arise as the mistress
falls in love with the guide.
This was Zinnemann’s last film, which taught him a les-
son, as he revealed in his autobiography: “Mountains are
more difficult to photograph than women; moody and elu-
sive, they don’t reveal themselves easily.” In retirement,
finally, in a Docklands apartment, he completed An Autobiog-
raphy (1992). In 1970, the Directors Guild had conferred on
Zinnemann its most prestigious honor, the Life Achievement
Award. On that occasion he remarked, “I will always think of
myself as a Hollywood director, not only because I grew up
in the American film industry, but also because I believe in
making films that will please a mass audience, and not just in
making films that will express my own personality or ideas. I
have always tried to offer an audience something positive in
a film and to entertain them as well.”
Zukor, Adolph (1873–1976) He was a major influ-
ence on the growth of the film business, bringing “highbrow”
entertainment to the movies, pioneering the feature-length
film, and founding (as well as guiding) the original company
that eventually became Paramount Pictures.
Zukor was born in Hungary and arrived in the United
States at the age of 15. He adapted quickly to his new home,
taking all sorts of jobs until he became the owner of a fur
company. Sensing a greater potential in the fledgling movie
business, Zukor joined several other investors in 1903, put-
ting his modest wealth into a penny arcade in New York’s
Union Square. The pennies rolled in.
Although filmmakers such as
D
.
W
.
GRIFFITH
experi-
mented with film form and content, Zukor experimented
with the business side of the industry, importing ever-longer
films from overseas and showing them in theaters all over the
country. He was a movie impressario who made his most dar-
ing move in 1912 when he acquired the American rights to
the British/French four-reel film Queen Elizabeth, starring
Sarah Bernhardt. The movie was a major hit in the United
States, and earned Zukor $80,000. Realizing that he was on
to something, Zukor copied the concept of Film d’Art of
France, from whom he had licensed Queen Elizabeth, and
formed the Famous Players Company, whose slogan was
“Famous Players in Famous Plays.”
His company was successful, not because of his unimagi-
natively filmed stage plays but because he wisely put screen
star
MARY PICKFORD
under contract. In any event, he did,
indeed, bring a certain respectability to the movies. His com-
pany’s product, critically acclaimed plays and classic novels,
appealed to the tastes of the middle class, and, of course, in
its films Famous Players used well-known stage stars of the
day such as Lillie Langtry, John Barrymore, James K. Hack-
ett, and Ina Claire. It provided a chance for audiences to see
these famous performers for a good deal less money than for
live stage appearances. For many, it was their only chance to
see these stars at all.
Zukor merged Famous Players with the Jesse L. Lasky
Feature Play Company in 1916, and he bought more than a
dozen other companies in the late 1910s, including his dis-
tributor, Paramount Pictures Corporation (bought in 1917).
Eventually, the name of the company was changed to Para-
mount Pictures.
During the 1920s, Zukor went on a buying binge, acquir-
ing movie theaters all across the country. When the Great
Depression came, his empire nearly collapsed. Lasky and
others were forced out, but not Zukor. When the company
was finally reorganized under the U.S. bankruptcy laws in
1936, the studio’s founder was kicked upstairs to the largely
ceremonial job of chairman of the board.
He was remembered by his peers in 1949 when he was
given a Special Academy Award for his “contribution to the
industry.” When he died at the venerable age of 103, Zukor still
held the title chairman emeritus of Paramount Pictures, Inc.
See also
FAMOUS PLAYERS
;
LASKY
,
JESSE L
.;
PARAMOUNT
PICTURES
.
ZUKOR, ADOLPH
479
Books are built out of other books, and we are indebted to
buffs and scholars listed below whose work we shamelessly
pillaged. Among books we found constantly useful were
Ephraim Katz’s The Film Encyclopedia; the Facts On File Ency-
clopedia of Filmmakers, edited in two volumes by John Tibbetts
and Jim Welsh; Leonard Maltin’s TV Movies; Steven H.
Scheuer’s Movies on TV; and the exquisitely indexed Video-
Hound’s Golden Movie Retriever, edited by Martin Connors and
Jim Craddock, and updated annually.
Abel, Richard. Silent Film. New Brunswick, N.J.: Rutgers
University Press, 1996.
Acker, Ally. Reel Women: Pioneers of the Cinema. New York:
Continuum, 1993.
Adamson, Joe. Groucho, Harpo, Chico, and Sometimes, Zeppo.
New York: Simon and Schuster, 1973.
Affron, Charles. Lillian Gish: Her Legend and Life. New York:
Scribner, 2001.
Allon, Yoram, et al. Contemporary North American Directors.
London: Wallflower, 2000.
Alpert, Hollis. The Barrymores. New York: Dial Press, 1964.
Andereg, Michael A. William Wyler. Boston: Twayne, 1979.
Anderson, Janice. History of Movie Comedy. New York: Exeter
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Andrew, Geoff. Hollywood Gangsters. New York: Gallery
Books, 1985.
Andrews, Nigel. Travolta: The Life. London: Bloomsbury,
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Armour, Robert A. Fritz Lang. Boston: Twayne, 1977.
Astor, Mary. A Life on Film. New York: Delacorte Press, 1967.
Aylesworth, Thomas G. Broadway to Hollywood. New York:
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———. Monsters from the Movies. Philadelphia: J. B. Lippin-
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———. Movie Monsters. Philadelphia: J. B. Lippincott Com-
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Bacall, Lauren. Lauren Bacall by Myself. New York: Alfred A.
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Bainbridge, John. Garbo. New York: Doubleday, 1955.
Bailey, Adrian. Walt Disney’s World of Fantasy. New York:
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Baker, Fred, with Ross Firestone, eds. Movie People. New
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Bales, Kate, ed. Cinematographers, Production Designers, Cos-
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———. The World War II Combat Film. New York: Columbia
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———. The Cinema of Joseph von Sternberg. San Diego: A. S.
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———. Hollywood in the Thirties. New York: Paperback
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———. King Vidor. New York: Monarch Press, 1976.
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& Co., 1974.
———. Woody Allen: A Biography. New York: Carroll & Graf,
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THE ENCYCLOPEDIA OF HOLLYWOOD
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Crawford, Christina. Mommie Dearest. New York: Berkley
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482
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