Entering films as a youth, Donner graduated to direction via the cutting
room and it is in the fluidity of his editing that his talents are most
apparent. There is a vein of sentimentality, particularly in his early
work, which seemed over-concerned with the problems of childhood and
adolescence, but present also in some of the more abrasive films of
the mid-sixties, such as Nothing
but the Best (1964), What's New, Pussycat (1965) and Here We Go
Round the Mulberry Bush (1967). Donner is adept at catching the voguishness
of the time, consequently his films only a few years later seem dated.
Throughout the 70's and 80's he was mainly restricted to films for television.
