Rating: 
Summary: "A piece of junk"
Review: That was the verdict of Harry Cohn, by all accounts one of Hollywood's most charming, sensitive and civilized human beings. He kept a picture of Mussolini on his office wall. This is a truly beautiful film. I play it every now and then, when I'm feeling low and the going gets tough. It has some of the tautest, leanest, most economical dialogue ever written. Young punk Harvey: "I'm going, and I won't be back". Magnificent Katy Jurado: "Good". The Mayor: "You should leave, Kane. It'll be better for you --- and better for us". Cooper: "Thanks". Every second tells, every minute counts, every shot tells a story, every expression conveys a world in this unsurpassable, unforgettable, piece of junk. I'll soon be 70 years old, and I must have first seen this film when it first came out. Every time I watch it, I see something new. The gun and holster that Herb --- "Go home to your kids, Herb" --- hangs on the sheriff's coat-peg when he folds his cards: put to exemplary use an hour later. The secondary characters, written and played to perfection, creating a complete cross-section of the citizenry of anywhere. The timing, the pacing, the heat, the Tiomkin music off the steppe, the monochrome: need I continue? If this was a piece of junk, what was the rest of the Tinseltown output? A pile of horse manure?
Rating:
Summary: The tin star in the dust
Review: This is the quintessential Hollywood western. It will continue to represent the genre for many decades to come.It stars Gary Cooper, one of the most beloved of leading men who personified soft-spoken heroic courage in scores of important films, including Beau Geste (1939), The Pride of the Yankees (1942), Along Came Jones (1945), The Court Martial of Billy Mitchell (1955), etc., and Grace Kelly in her debut role. Directed by Fred Zinneman, whose credits include From Here to Eternity (1953), A Man for All Seasons (1966), Julia (1977) and a dozen more, High Noon tells the story of Will Kane, a small town marshal who, on his wedding day faces a man just let out of prison with three of his outlaw friends who are aiming to get revenge for his being sent up. The enduring image of the film is Gary Cooper walking tall in the deserted streets of the town in a black Western hat, a black vest, long-sleeved white shirt, black string necktie, watch chain, boots, and low slung holster and two belts, while off to the side inside the wooden buildings we see "that big hand move along, nearin' high noon--which is when the train arrives carrying the freed prisoner. Will Kane has cleaned up the town, but now the gunslingers return and he is their target. His wife of less than an hour (Kelly) demands that he leave town. The town itself, in fear of the gunmen, also wants him to leave town, hoping to take the fight away from them. He tries to recruit deputies but everyone is afraid. Even his lone deputy (Lloyd Bridges) deserts him. In the background is Dimitri Tiomkin's haunting ballad, sung by Tex Ritter: "Do Not Forsake Me, Oh My Darling (On This Our Wedding Day)." Both Cooper and the song won Oscars. Noteworthy was the fine performance by Kay Jurado as ... Ramirez, Cane's ex, a shrewd barroom lady and proprietress. What is interesting about the moral conflict (from the story, "The Tin Star" as interpreted for film by screenwriter Carl Foreman), that of facing your enemy rather than running, is that Kane's rationale is logical. If he runs they will only come after him again and again. Only two people get this, Kane and Ramirez. The larger moral issue of whether to fight to defend yourself (Grace Kelly is cast as a Quaker and does not believe in killing) is resolved during the climatic shootout by Grace Kelly's character herself in a manner that did not set well with Quakers. How well does this black and white classic Western play today? The towns people seem cliches and the outlaws are quickly drawn, but Gary Cooper as Will Kane seems entirely believable, admirable, heroic in the best sense of the term as a man who knows the dangers, feels the fear, and yet must act, and he does. He is no shallow, two-fisted, machine-gun hero so often seen in Hollywood productions, but a man of maturity whose "grace under pressure" (a fine definition of courage) tells us and himself who he really is. See this for Gary Cooper whose "slow-talking, slow-walking," (lyrics from the Coaster's hit song from the fifties, "Along Came Jones"), and soft-spoken heroics delighted and enthralled a couple of generations of film-goers.
Rating:
Summary: One of the best westerns.
Review: I'm not a big western fan, but I love this movie. It is probably one of the best westerns out there. I love the story line and the cinematogrpahy. I also love the fact that it is shot real time. the time that passes in the movie is about the time that passes in the story.
Rating: 
Summary: May have been good in it's time but now it's just dull.
Review: Maybe since the basic theme of this film had perhaps not been explored yet when it came out originally it might have made more of an impact back then. But having just seen it recently in 2004 I don't see anything particularly interesting. I had to fast forward through several parts because it was so mind numbingly dull. It's very eery theme song complete with odd horseclopping sounds are granted 'mega cool' but they just don't carry a dull old movie.
Rating:
Summary: Defies Imitation - stirring and unique
Review: I saw this at age 8 when it was a brand-new, my-gosh piece of controversy. In fact, I saw it six times and the house was packed at each showing. Many powerful images have stayed in my head since then, and they are just as impressive today. Recall that the "controversy" behind this classic was its timing at the height of McCarthy's Red scare; the writers and directors, their creativity stymied by myopic thinking and fears of the day, pulled quite a stunt; the hero Will Kane marches to a different drummer in the face of a skittish and conformist environment. Politics aside, of course, this is just a rattling good movie. It started a new trend, which in those days was referred to as the "adult" Western, which in turn meant it dealt with ideas, principles, real-world emotions, not just horses and guns. Take it as an allegory of 50's culture or as a great Western, it works either way. Even its presentation style was a rule-breaker: starts with Tex Ritter droning "Do Not Forsake Me O My Darlin'" in the background, after which every Hollywood Western had to have a Western singer in the credits (unfortunately, it was usually a near-screaming, echo-chambered Frankie Lane with a blaring symphony orchestra backup! Good grief). The 1952 masterpiece was followed by countless imitations -- and how many Eastwood movies feature High Noon-style confrontations ? It's a landmark film so well done, it defies imitation. The DVD print is quite good, but the "digitized" sound is awful, as usual (turn it off, play it in the original mono). Catch the fight scene with Cooper and Bridges, and the scenes with skillful Katy Jurado and her competing suitors; it doesn't get any more real than this, and veteran director Zinnemann outdoes himself here. Every performance is tight and right-on. And note: the action occurs in real time. You can synchronize your wrist watch to the brief glances at the clocks on the walls. And dig that camera work; black and white was an art in those days, and has become a lost art since. A stirring, original, and unique work in every way. Some good features on the Collectors Edition.
Rating:
Summary: Classic Western is a must for any fans DVD library.
Review: This is a very difficult film to review, most of us have seen it, and likely more than once. The best thing to try and do here is justifying the purchase. For one thing it's a clean digitized version from the original negative. Not all DVDs are, many to the regret of buyers. It has a lot of extra's, interviews and making of specials. It's often fun to watch a good film again, after we know all the "inside stuff". What makes this film so watchable for repeat viewings? This movie plays to our emotions, on so many different levels. It's reaffirmation of a man, doing his duty as a man. Much like the patriot, who fights for God and country! To watch it again, is to once again reaffirm your own manliness and resolve. It's a study of different male natures, and raw motivations. Those who would join the fight if they were to benefit. Friends, who are there for you until circumstances look a bit too dire. The naïve young boy, who would enter the fight without knowing the consequences. To the political arm of the town who tried to convince Kane to run, knowing the trouble would likely follow him, and pass them by. The women in the story are just as interesting. You have the Pure young Quaker wife, (who's religious convictions would normally preclude violence of any kind) reluctantly coming to grips with reality of the situation. You have the scarlet woman, who recognizes the rare value of Kane's heroic nature. They've had an obvious relationship in the past, but likely she could never meet him on equal grounds of morality. The wives who hide out in the church, and help squelch any male support from the townsmen. Their motivation is simple enough, they know someone will likely get shot, and they'd rather their men did not participate. This particular edition is not released yet as I write this, so I haven't confirmed this. I do believe one of the commentaries (some which have aired on TV before) mentions the unlikely case this could have happened at the time presented in the film. If I recall, they explained that most towns of this type were full of ex-civil war vets, who would have had no qualms what-so-ever about taking up guns, to help the Marshall. This may be true, but it's not the point of the film. In the end, Kane drops his tin star in the dirt, and appears to turn his back on the town in disgust. I had some thoughts about that, but always believed that his disgust was not over the betrayal of the town. I thought he believed that the town betrayed themselves, and was disgusted with the thought of it. I did wonder one more thing at the end of the movie. Since Kane's' wife jumped off the train, just as it was leaving the station, how did she get all her luggage back, and loaded up in that wagon right after the gunfight? The airlines could use baggage handlers that good!
Rating:
Summary: DVD Review
Review: Strangely this amazon entry claims the dvd hasn't been released, but its been around for a year. Another entry lists it as out of stock, perhaps that explains it. The film is hands down my favorite western and features many of the genre conventions, but also brings many progressive sensibilities to the genre. It is primarily a psychological western, not the shoot um ups that reigned in the past. What makes high noon such a masterpiece is the incredible perfection of its craft. It is truly one of the most tightly constructed films ever made. Not a single frame is wasted in the telling of its story and its conveying of mood. The film should be mandatory viewing for budding filmmakers, so they can learn the importance of lean, fat free editing. Kurosawa said he only shot footage so he could edit and high noon is truly a brilliant example of the power of concise editing. Many films today love to draw out their endings with multiple resolutions, high noon proves the power of speed and simplicity in its powerful closing scene. The high noon dvd is presented in full frame format since the film was not shot in widescreen. Picture is amazing for a film that is over 50 years old. Contrast and sharpness are gorgeous and the print is one of the best of a film of this age. Sharpness is truly stunning. Shimmering and flicker is present on some objects and there are occasional tiny spots on the image. The spots were so small and infrequent i didn't even notice them ever until a second viewing. Shimmering on trees is present quite a bit especially if you have a cheaper dvd player. These are minor points, because i was stunned at the beauty of the tranfer. Sound is presented in regular and enchanced audio. Regular sometimes has cooper's dialogue a little low. Enchanced has more kick, but they may have toyed with the original mix. A commentary is including with relatives of the cast and crew. I didn't listen to all of it, it is presented in a group conversational manner. Extras are interesting with a informative leonard maltin backstory on the film. I'm not a maltin fan and find his narration annoying, but he points out intriguing notes on the film's production. The best part is oncamera interviews from several years ago with zinneman and other real cast/crew member. Zinneman tells a great story about how the train ran over the camera when they were shooting the railroad track shots. Also another weird note is that the cinematography floyd crosby is david crosby's father! David is interviewed about his dad's work. A new series of interviews are collected with the surviving children of the cast/crew in the "behind" doc. Cooper's daughter is very obviously reading a teleprompt and i quit watching at that point. There is a radio show with tex ritter, he talks about having never played the bad guy and being in 80 westerns. I didn't finish the show. The movie is by my money the best western ever made because of its extraordinary concise editing and fat free storytelling. The dvd is great with knock out picture for a film over 50 years old and a good documentary on the making of.
Rating:
Summary: The First Liberal Western
Review: Wow! I couldn't believe all the high ratings this movie got. Yes, the song is catchy, Cooper is the all-american western hero and Grace Kelley is lovely - BUT nothing happens from the time the bad guys arrive to the final showdown - about 70 minutes. Its just talk. And folks, we're not talking about great dialogue here. Want to see Gary Cooper beg and whine for someone to save him for 70 minutes? I didn't. So why the high ratings? It was the first liberal western. Full of talk and no action. And this was the first western to show the old pioneers not fighting Indians, or putting down the bad guys, but as a bunch of greedy cowards who turn their back on old coop when he needs them. Had it been made 10 years later, Kramer would have shown the townspeople kicking some poor native-american or sneering at some noble black cowboy (played by sidney poitier).
Rating:
Summary: A Profile in Courage
Review: One of my favorite movies of all time is this suspenseful Western starring Gary Cooper. It is a simple tale told in a complex and artistic manner. A man retires as the town Marshall and marries a Quaker (the main reason for his retirement). On the day of their wedding, word comes that a man he sent away to prison (Frank Miller) has been released and is heading to his town to settle the score. The ex-Marshall, Will Kane (played by Gary Cooper), first leaves with his new bride but turns around to meet the challenge. He initially assumes that he will not have to meet Frank Miller alone. However, when he looks to put together some deputies, only one man volunteers and once that man realizes that he is the only volunteer, he quits as well. Knowing that Frank Miller will be accompanied by two henchmen, Kane is face with the reality that he will have to face the challenge alone and out-gunned. The stage is thus set for a suspenseful gun battle. Naturally, good triumphs over evil; this is a 1952 movie afterall. However, the movie shows that not all is well within what we consider to represent good. Why was Kane left to meet this fight alone? Even his newlywed bride gave him an ultimatim of her of the shootout. This concept of one man standing alone amidst cowardice and apathy angered the likes of John Ford and John Wayne (although it didn't keep the Duke from accepting Cooper's Best Actor Oscar on his behalf). World War II was still vivid in everyone's memory and it was a memory of America coming to the rescue; not kicking and screaming but marching proudly. Yet this movie was not an analogy of WWII but of the McCarthy Era where the suggestion was that fear intimidated the populace and kept them from speaking up when individuals were challenged. Irregardless of your thoughts on the film's deeper meaning, this is a tour-de-force by Cooper. His stoic strength in the face of fear is a preformance for the ages. Cooper does not come across as a man full of himself. He shows that he has weaknesses but he struggles, successfully, to confront them. He is Everyman who must face his fears, not some Superman who has no fear. The movie builds in suspense as he becomes increasingly aware of his lonely mission. Then the suspense jump-starts to a higher level as everything awaits the arrival of Frank Miller on the noon train. I can hear the music of the soundtrack accentuate the suspense and the train whistle blowing the arrival of Fate. The shoot out itself is subdued somewhat in scope reminding us that it is Everyman and not Superman who is battling the enemy. The final scene is as dramatic in symbolism as the shoot-out was in action. As time, tastes, an technology move on, many once-great movies fall by the wayside. "High Noon" is a movie for all ages and all times. The acting, directing, musical score, supporting acting, writing et. al. are all superb. If you haven't scene this movie, you're missing a classic. Watch it and understand the art of movie-making in the days before Spielberg.
Rating:
Summary: most worthy of its praise
Review: Before I watch a movie I am considering buying, the first thing I do is go straight to the customer comments and filter directly to the lowest ratings. I don't care so much about what the lemmings have to say, I want to hear the realists' opinions. After reading the numerous negative reviews of this film, I had very low expectations. I must say, going into this film with low expectations, I was floored by how good it was. As for the acting, Grace Kelly was beautiful and looked like a star, but her performance was far from spectacular. Gary Cooper also looked the part of a US Marshall, yet apart from his sweating (apparently the result of a well-timed bad appendix) his performance was simply adequate. It was the supporting roles that really made the difference. Katy Jurado was a first class real Mexican actress whose role was pivotal to the film (she later became the first Mexican actress nominated for an academy award). Lee Van Cleef, although he utters nare a word, absolutely owned every scene he was in. Lloyd Bridges as a terminal loser was never better. And Thomas Mitchell's presence in the film bridges a gap between Old and New Hollywood (he was in John Wayne's breakout film, 1939's Stagecoach). As for the music, awards or not, I thought it was great. That is real western music (not country, which I abhor). I thought the sets were all tolerable at the very least; they looked more like the 1850s than the 1950s. The wide opening scenes of the prairie beyond Lee Van Cleef weren't up to David Lean standards, but they provided a nice frame. The real strength of this film, however, was the story. Civilization requires more than police and courts, ultimately it depends on the moral values of everyday citizens. Nowhere was this ever more clear than in the Old West, where people lived in the rudimentary fringes of civilization. Interestingly, High Noon is almost unique among films of the genre to really investigate this important theme. The great "real time" aspect of the film, so often remarked upon, is really just frosting on top of this deeper foundation. Grace Kelley's convincing Quaker pacifism adds a further provocative moral tangential to the mix. Finally, the story flows in a far from predicable formula, and the ending is wonderful and powerfully brief; a far cry from the campy norm of the 1950s. As to the naysayers, I send them my deepest regards but I simply cannot agree with them in this case. High Noon is a truly great film. The writer was later blacklisted, so to call this a product of McCarthyism is simply off base. I think the criticism is perhaps born from an ingrained socialist distrust of any types of moral discussion. But this movie never preaches, it simply deals with the theme of morality and its role in shaping civilization in an intelligent manner while also managing to entertain you; just what any sophisticated filmgoer should want from a film. Furthermore, the politically correct culture which currently dominates in Hollywood may hate McCarthyism, but it is often even more oppressive and dogmatic than anything that occurred in the 1950s, so such criticism is a bit hypocritical to say the least.
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