[Originally published in Movietone News 23, May-June 1973]
The critical ascendancy of Fred Zinnemann has always bewildered me. Still more bewildering is the question of how to engage his inadequacy in critical terms. How about this? Fred Zinnemann is the sort of filmmaker who gives good taste a bad name. His work is pretentious, and the pretentiousness is of a special kind: a pretense to delicacy, to discretion; an ostentatious avoidance of emotional excess and dramatic patness. Even in a film taken from a prize-winning historical play, A Man for All Seasons (1966), with a screenplay still rife with pregnant lines and deftly turned speeches, one kept having a sense of the event—if not necessarily the point—passing one by, so that when a last-moment narrator ticked off the ignominious comeuppances of Sir Thomas More’s persecutors following upon his dispatch, one chuckled not only at the intended irony but also at the unintentional one: that this turning of the tables of historical justice (or irrelevance) didn’t quite matter either.