When asked to express the overarching theme of his life's work, Zinnemann likes to quote the ancient Hebrew philosopher and teacher, Hillel: "If I am not myself, who will be for me? And if I am only for myself, what am I? And if not now, when?" With quiet eloquence, Fred Zinnemann's films examine these universal questions of identity and conscience, providing his audience with many examples of individuals who must face a crisis that forces them to plumb the very depths of their souls. His films have repeatedly demonstrated to American audiences that the individual can and must summon the courage and fortitude necessary to overcome personal weakness and fear. There is an unyielding, maverick quality to most of Mr. Zinnemann's films, a refusal to pander to the audience with reassuring cliches, pop formulas, or contrived moralistic cant. Instead, he elevated the level of American culture, creating some of the greatest and most powerful American movies including Member of the Wedding, The Wave, The Seventh Cross, Julia, The Men, The Search, The Nun's Story, From Here to Eternity, A Man For All Seasons, and his most famous film High Noon. Zinnemann's social-realist style first gained critical acclaim in 1948 with The Search, which starred Montgomery Clift in his film debut as an American GI stationed in Germany who befriends a lost and mute Czech boy, gradually winning his trust and teaching him to speak again. Using harrowing footage of real war ophans in UNRRA camps, The Search, although a work of fiction, dramatized in a highly realistic way the plight of countless displaced people in post-war Europe. In The Men, released in 1950, Zinnemann brought to the American public the problems of thousands of paraplegic veterans. Starring Marlon Brando in his cinematic debut, the film examines complex relationships of families, friends and fellow veterans struggling to come to terms with the protagonist's disabled condition. This was hardly, the kind of fluff the American public was used to seeing in their neighborhood movie theater. Most film critics would agree that Fred Zinnemann's masterpiece is High Noon. It is my personal opinion that High Noon is not only Fred Zinneman's greatest film, but the greatest film ever made. It has been a constant source of inspiration to me, and I have no doubt that it has inspired countless others, whether directly or indirectly as a result of its theme and message becoming deeply ingrained in the American conscience. If Fred Zinnemann never directed another film except for this one, he should be honored with Congress's highest award. Working in the distinctly American genre -- the western, Zinnemann created a film that transcends the genre (and forever changing it) to become a classic tale of a man who, in his commitment to duty, is able to triumph over his own strongest fears. The film is so rich in its texture, plot and theme that it still stirs considerable debate over its true meaning: a modern day "everyman," a parable of McCarthyism, or of international politics, an anti-western. Gary Cooper stars as the small-town sheriff, Will Kane, who on the day of his retirement and marriage to a Quaker woman (Grace Kelly) chooses to face a killer seeking revenge. Desperately trying to rally the town citizens to band together to confront the returning Frank Miller and his gang, he soon realizes that he must face alone the fears that the townspeople choose to ignore. With consumate skill, Fred Zinnemann has pulled together all the elements of great filmmaking -- its haunting theme song, "Do Not Forsake Me," the stark, black-and-white cinematography, its tension-building editing and superior acting -- to produce a cinematic tour de force. Fred Zinneman's extraordinary contributions to American film have earned him recognition as one of the most honored of post-war directors. He has won four Academy Awards for directing (for From Here to Eternity and A Man For All Seasons, and for two earlier documentaries). The New York Film Critic's Circle has honored him as best director four times, and the Directors Guild has conferred upon him the coveted D.W. Griffith Award for lifetime artistic achievement. In his soberly authentic protrayals of human conscience, Fred Zinnemann has reflected the enduring American value of principled individualism. His films have served as inspiration to millions. In light of Fred Zinnemann's enduring contribution to the art of the motion picure and the cultural heritage of our nation, Congress should bestow it highest honor, the Congressional Gold Medal, as a fitting tribute and expression of gratitude for his life's work. JIMMY STEWART If ever there was a movie star worthy of adoration, it is Jimmy Stewart. He has become a living icon of all that is true and good in America. In this era of media hype, in which public image so often belies the private reality, Jimmy Stewart's public persona as a man of innate goodness and decency is truly the real thing. Jimmy Stewart is so universally beloved in America and around the world, that one would be extremely hard-pressed to find a single person who does not like him. Expressing sentiments undoubtedly shared by many, Harry Truman once declared: "If Bess and I ever had a son, we'd want him to be just like Jimmy Stewart." Ronald Reagan expressed his feelings for Stewart by saying: "If I were marooned on a desert island and could choose a buddy to keep me company, there's never been any doubt who I'd pick. Jimmy Stewart knows when to talk, when to keep quiet, when to laugh and when to appear. I've been his friend for a long time and it's a privilege." In a film career spanning 43 years, Jimmy Stewart has played a wide variety of roles -- Charles Lindburgh in The Spirit of St. Louis, Glenn Miller in The Glenn Miller Story, the pixilated Elwood P. Dowd in Harvey, the naive and idealisitic Jefferson Smith in Mr. Smith Goes to Washington, Deputy Tom Destry opposite Marlene Dietrich in Destry Rides Again, the self-loathing reporter in The Philadelphia Story for which he won an Acadamy Award, the peeping Tom in Hitchcock's Rear Window, and the rich-man's son in love with the daughter of a loveably eccentric family in You Can't Take It With You are just a few of his characters out of dozens of starring roles that have become a part of all of our lives. Perhaps Stewart's greatest role, however, is that of George Bailey in the Frank Capra classic, It's a Wonderful Life. Stewart's own favorite movie, his characterization of George Bailey represents the archetype of the Jimmy Stewart role -- honest to the core, sincere, decent, hard-working, dedicated to his family, a man of ambition and unbridled optimism. He is the man every mother wants her son to grow up to become. When it was originally released, the film had only modest success. Over the years it has become a Christmas-time classic. When he first agreed to take the part of George Bailey, Stewart had just returned from the war and was actually a bit unsure whether he could still act. Unlike many actors at the time who went into the armed forces and were given public-relations jobs stateside, Jimmy Stewart was a genuine war hero. Against the objections of MGM studio head Louis B. Mayer, Jimmy Stewart requested combat duty in Europe as a pilot. As an Army Air Corps bomber pilot (and later squadron leader) Stewart flew more than 30 missions over Germany, and was awarded the Distinguished Flying Cross, the Air Medal with Oak Leaf Cluster and the Croix de Guerre by the French government. Typical of Jimmy Stewart's modesty and sensitivity, he demanded that his studio contract following the war explicitly prohibit the use of his war record in promoting his films. Through both the characters he has played over the years and the lifestyle he has led, Jimmy Stewart has come to embody the American spirit. Congress would be doing itself a great honor in awarding its Congressional Gold Medal to such a deserving American as Jimmy Stewart. THE HONORABLE FRANK J. GUARINI A bill to establish a Pearl Harbor Commemorative Medal Before the Banking Subcommittee on Consumer Affairs and Coinage Mr. Chairman, I want to thank you and the members of your committee for allowing me the opportunity to testify before you today as you consider my bill to establish a Pearl Harbor Commemorative Medal. December 7, 1991 will be the 50th anniversary of one of the most tragic events in our nation's history -- the Japanese attack on Pearl Harbor. That attack swept us into World War II. It elevated the United States as the world's protector of freedom. And it affected generations of Americans who believed and continue to believe that we as nation and as a people must pursue the fight for freedom on every inch of the globe. Last June, on behalf of the Pearl Harbor Survivors Association, I introduced H.R. 2575. Along with Senator Heinz, I feel strongly that it is only appropriate that we pay a final tribute to the 2,400 veterans who died that day in Hawaii and the thousands of others who survived. It is my hope that we can award the medals on or prior to the 50th Anniversary of the Pearl Harbor attack next December. The Pearl Harbor Survivors Association deserves a tremendous amount of credit for their role in gaining the support of the 223 sponsors of my bill. The Association, which has 11,000 members and is active in all 50 states, has done much to protect the needs of the fighting men and women it represents. I have several technical amendments requested by the Departments of Defense and Treasury I would like to have added to my bill. It has also come to my attention that there is some concern that an excessively large number of people will come forward to accept this medal. The Pearl Harbor Survivors Association asserts that no more than 15,000 to 20,000 will receive the award. Secretary of Defense will have the authority to determine eligibility. In addition, sales of duplicate coins should cover the cost of producing the medals, which may be reduced in size and scope if necessary. Mr. Chairman, once again let me thank you for inviting me to testify this morning. I urge you and your colleagues to approve the Pearl Harbor Commemorative Medal and look forward to recognizing the 50th Anniversary with you next December. Thank you. STATEMENT OF EUGENE H. ESSNER, DEPUTY DIRECTOR, UNITED STATES MINT BEFORE THE SUBCOMMITTEE ON CONSUMER AFFAIRS AND COINAGE Mr. Chairman and members of the Subcommittee, I thank you for your invitation to present the views of the Treasury Department on two medals bills H.R. 2575 and H.R. 1699. The purpose of - H.R. 2575 is to award a Congressional commemorative medal to those veterans of the Armed Forces who defended Pearl Harbor and other military installations in Hawaii on December 7, 1941. H.R. 1699 recognizes the contributions to our Nation's cultural heritage with an award of congressional gold medals to Frank Capra, James Stewart, and Fred Zinnemann. Turning initially to H. R. 1699, this proposal directs the President to present, on behalf of the Congress, gold medals to Frank Capra, James Stewart, and Fred Zinnemann. The bill also permits the Secretary of the Treasury to strike and sell bronze duplicates of the three gold medals. The Treasury Department foresees no difficulty with the fulfillment of this legislation. The individuals commemorated are certainly recognized leaders in the performing arts. We do have several concerns with regard to H.R. 2575, the Pearl |