High Noon

June. 09,1952      NR
Rating:
8
Trailer Synopsis Cast

Will Kane, the sheriff of a small town in New Mexico, learns a notorious outlaw he put in jail has been freed, and will be arriving on the noon train. Knowing the outlaw and his gang are coming to kill him, Kane is determined to stand his ground, so he attempts to gather a posse from among the local townspeople.

Gary Cooper as  Marshal Will Kane
Thomas Mitchell as  Mayor Jonas Henderson
Lloyd Bridges as  Deputy Marshal Harvey Pell
Grace Kelly as  Amy Fowler Kane
Katy Jurado as  Helen Ramírez
Otto Kruger as  Judge Percy Mettrick
Lon Chaney Jr. as  Martin Howe
Harry Morgan as  Sam Fuller
Ian MacDonald as  Frank Miller
Eve McVeagh as  Mildred Fuller

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Reviews

Pluskylang
1952/06/09

Great Film overall

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Afouotos
1952/06/10

Although it has its amusing moments, in eneral the plot does not convince.

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Chirphymium
1952/06/11

It's entirely possible that sending the audience out feeling lousy was intentional

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Dirtylogy
1952/06/12

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

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Eclectic Cinephile
1952/06/13

I really love High Noon. Second time is even better than the first time. It feel so perfectly shot, cleanly edited, well-timed; I just love the way Gary Cooper fits into his character Will Kane, and I get more and more attached to him the more and more everyone abandons him.The last few minutes of gun fighting feel very real. For the most part Kane is on the run and yet he fights back without any trace of cowardice. In contrast to another great Western The Searchers, where the heroes are the pursuers, the hero is the hunted one. I think that works very well; it also feels more satisfying to see his defeat of the bad guys in the final moments.Yet there's a real bittersweet thing going on here. Helen Ramirez is gone from the town, never to return. The town is full of corrupt and cowardly people. Only the young boy who was eager to aid Kane but was turned down gets a smile from Kane at the end of the movie. And Will Kane's wife had to abandon her Quaker pacifism to save her husband. Nothing comes easy here."Do Not Forsake Me Oh My Darling" felt a bit tacky at first, but I took a liking to it.Everything feels stripped down, meat-and-potatoes, and I think it surprised a lot of American moviegoers when they first saw it in 1952. Now it feels less strange, but it still feels "other" compared to the great Westerns of John Ford or Howard Hawks, or even the Sergio Leone spaghetti Westerns.I think this is one of my favorite 1950s films, alongside The Big Heat, The Searchers, The Ten Commandments, Seven Samurai, and Ben-Hur. Say what you will about the puritanism of the American 1950s era, but it was a really fertile period for American movies and even for other non-American movies.

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Mike_Yike
1952/06/14

I saw this movie on TV when I was a kid of about 10. That was about 1960. I remember that I was going to spend a couple of hours watching a western. I didn't think the film was going to be anything special but when I heard the opening theme song I knew I was in for something special. Even at age 10, I knew. I have seen it many times since.The movie is about an unwillingness of the townsfolk to get involved with upholding the law. It came down to the town marshal, a newly-married Will Cane, to stand up to four gunmen alone. There is supposedly a connection between the plot of the movie, and McCarthyism, which was going on at the time the movie was filmed. I did not know that at the time I first saw it and truth be told, I would not have thought of it since had I not read about it.The movie is not quite perfect. Many of the town's people implore the marshal to leave town while he has the chance; before all the gunmen get to town. He makes up an excuse why he can't, an excuse that really doesn't exactly hold up under the viewer's scrutiny. But the movie had to have a shootout, right? Anyway, the movie is probably in my top 25, certainly in my top 50. There are a couple of pre-1960 westerns that are higher on my list: Shane and My Darling Clementine. Post 1960 westerns such as Eastwood's the Unforgiven and The Outlaw Josey Wales are for me, in a different genre I'll call "modern westerns".

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isobeljones
1952/06/15

I cannot fault this movie and can't imagine the film industry today being able to produce such a minimalist and beautiful film that is also entertaining to watch rather than a chore.Cooper is superb as timeworn Kane, about to retire with his new wife but unable to leave the town he protected from evil for so long when it's safety and the safety of those he thinks of as his friends is threatened. He stays to defend the town against the arrival of the outlaw Miller but is abandoned by all those he fights for, and all the values he holds true are questioned.The direction, editing, music etc. all add to a tense and nail biting experience even if you've seen it several times before.I'm not altogether sure why length is the way one judges whether a review is adequate for submission and is the reason I write so few no doubt. Rather sad IMDb. I am incapable of finding anything to add that does not merely replicate all that has already been said a million times or filling this little box with waffle and irrelevance. It really is very frustrating. And I'm still not even anywhere near the length required

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avik-basu1889
1952/06/16

'High Noon' is one of the most acclaimed, respected and influential films not just within the Western genre, but in all of American cinema history. Along with a handful of other films, 'High Noon' paved the way for a new wave of films called 'Revisionist Westerns' which subverted the conventional clichés of past Westerns along with blurring the distinctions between good and evil.The screenwriter Carl Foreman wanted his screenplay to reflect the demons of McCarthyism which was prevalent in Hollywood at the time. On watching the film with this prior knowledge, one can easily see that it has those allegorical subtext in it due to the extensive presence of betrayal and isolation. But the film can easily resonate with anyone even if the viewer doesn't see any connection with McCarthyism, this is because at the heart of it, 'High Noon' is a tale of moral dilemma.The director Fred Zinnemann and screenwriter Carl Foreman have actually kept the door open for multiple interpretations. Yes from an idealistic viewpoint, the viewer will certainly put himself/herself in Marshal William Kane's shoes and sympathise with him. From that perspective the town folks who backed out on him and refused to support him will look ever so cowardly. However, this film can be easily watched from the perspective of the town's folks. From this perspective, one can easily see why they wanted Kane to leave as soon as possible so that the blood loss could be avoided. Kane could have escaped with his wife and allowed his succeeding Marshal to deal with Frank Miller and his gang. Even though Kane was a great Marshal, but even then Kane's zeal to stick to his 'code' can be easily seen as a machismo fueled act of foolishness to retain his own ideas of masculinity and heroism in his own eyes. The excuses given by the people who refuse to side with Kane in this encounter for the most part actually seem plausible and understandable. I also understand the Mayor when he asks the people to veer off from any potential violence as he thought this would steer away all the investors up North who might be viewing this town as potentially investment worthy. So this is morally ambiguous and the viewer can view the themes in any way he/she feels. It is a heavily cynical film about the human spirit and our inherent selfishness. This is why I think this film will work as a great companion piece with either Billy Wilder's 'Ace in the Hole' if you want similar cynicism or Frank Capra's 'It's a Wonderful Life' if you want to undercut 'High Noon's cynicism with a touch of unity.'High Noon' is majestically directed. The intro to the film with the three horse-riders riding into the small town and the onlookers reacting to them was breathtaking and utterly evocative. This intro heavily reminded me of 'Yojimbo'. Zinnemann is masterful at composing frames be it POV shots, unbroken shots, still shots,etc. The film takes place in real time and it moves along with great pace. Zinnemann brilliantly uses the 'High Noon Ballad' to raise tension, but he also knows exactly when to remove background music and let the visuals and real sounds take over to accentuate the emotional effect. The director brilliantly handles the mythic aspect of the character of Frank Miller. The concept of the unseen and invisible but ominous evil is beautifully done through the use of clocks, momentary shots of the railway, tracks, etc. with the music adding to it.Gary Cooper is a bit like Jeff Goldblum in my eyes, his acting style can be a bit jarring, but the tentativeness and vulnerability that is a fixture in his gestures and mannerisms is perfect for the role William Kane as the character himself feels extremely vulnerable under pressure of the adverse circumstances that he finds himself in. Kane's character itself subverted the concept of having the all powerful, idealistic, stoic hero, instead we get a human being who although being idealistic is prone to feelings and emotional vulnerability. We even see him break down at one point in the film after being overwhelmed by the fear of ominous adversity. Everyone else like Lloyd Bridges, Katy Jurado, Grace Kelly, Thomas Mitchell,etc. are great too. 'High Noon' in my opinion thoroughly deserves its reputation as a masterpiece. It is multi-layered, its cynicism has depth, and it dared to do something different in terms of character representation within the Western genre at a time when it was almost unheard of. Well written, brilliantly directed and well acted, this is an essential watch.

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