Rating: 
Summary: Civic & Moral Responsibility
Review: Classic flick. Directed by Fred Zinnemann in 1952, this movie is seemingly timeless. "High Noon" deals with three elements: 1. The bad guy is coming. You know he's coming. Three henchmen wait for him at the train station there in town. There are several lone camera shots going down the empty train tracks - you can't see the train yet, but you know it's on the way... in this case, bringing gunslinger John Miller, who's coming to settle a score from 5 years ago - when the Sheriff sent him to hang. 2. The Sheriff (played to a tee by Gary Cooper - earned him his first and only best actor Oscar) and his plight to round up some deputies to face the trouble that's coming. Even tho this is the Sheriff's wedding day and retirement day, he still feels it's his civic and moral responsibility to face John Miller. Only problem is no one in town wants to help the Sheriff. 3. Time - in an almost Alfred Hitchcock kind of way, you see clocks everywhere. Everyone is checking the time. This movie is filmed in "real time" and the Sheriff's time is short. From when the movie starts, he has roughly an hour and twenty minutes to meet his destiny. Fine supporting performances by the beautiful Grace Kelly (in only her 2nd movie appearance), Lloyd Bridges and the monster man himself, Lon Chaney. The movie is a bit slow in the beginning, but it's establishing the characters and town for what it is and who they are. The second half of the movie turns and the battle at the end of the movie (once Miller gets off the train) defines the word "suspense". One of the best. Also on this DVD is a nice "Making of High Noon" documentary with Leonard Maltin... containing interviews with people behind the scenes as well as the stars.
Rating:
Summary: One of the Best Westerns ever. Gary Cooper wins 2nd Oscar!
Review: This Western is told in a real time, nail biting, how does it feel to be alone scenario. Digitally remastered the picture & sound are extrodinary to the story telling. Oscar winning opening song "Don't Forsake Me" sung by Tex Ritter sets the stage for the "Miller Gangs" return. Will Cain (Cooper) on this his happiest day of his life having a wedding and retirement ceremony (from being the town Marshall) has his past suddenly become the challenge of a lifetime. Vengeful returning outlaws are seeking Cain. Everyone wants him to go on his honeymoon and leave town immediately. His sense of loyalty & duty is to stay until the new Marshall arrives. Problem no one stands beside him to defend the town. Will Cain must do it alone. What is so wonderful about this classic black & white western is the real-time scenario from about 10:40 am until 12:00pm "High Noon". Clocks & railroad tracks are the major ingredients to the suspense. These desparados are coming on the noon train. This is a great movie and "The Making of High Noon" with Leonard Maltin is wonderful. You'll be watching this movie more than once. This is a western to have in your DVD library now!
Rating:
Summary: Absolutely Wonderful
Review: I can't say much about this movie, as it will only be a rehash of what is mentioned on this page. Yet I must tell you what a great director Fred Zinnemann is (Also recommended: From Here to Eternity), what superior preformances Gary Cooper, Grace Kelly and Lloyd Bridges give, the moving music and the desperate situation of the sherrif, Will Kane himself. The scene with everyone looking at the clock come to twelve is a very important scene in cinema history. Forget Eastwood and Wayne, folks. Watch how lonely you can get when danger knocks on your door. No wonder Clinton recommended this to Bush.
Rating:
Summary: A lesson in civic responsibility...
Review: Some years ago I had the opportunity to develop a viewing guide for "High Noon" and use the film with high school students of varying abilities. It remains a fantastic film, one of the very best films (all genres) of all time, as well as a fantastic tool for teaching the "elements of literature." I recently purchased the DVD which contains a short documentary, "The Making of High Noon," hosted by Leonard Matlin. The documentary is an important source of information about the film, especially the comments by the film's director Fred Zimmerman. Matlin provides some excellent material on the film's relationship to the antics of the House UnAmerican Activities Committee. Most of this information is available in film history reference books, but its nice to find it on the DVD. I can't think of a better method of teaching the essence of "civic responsibility" then using this marvelous film. I should add that I'm a fan of "B" westerns, so it's not surprising that I'm raving about "High Noon." It remains a mystery why Turner Entertainment would have ever wanted to remake this film -- impossible for a remake to even come close to this classic.
Rating:
Summary: Whirlwind western with thrilling suspense!
Review: "High Noon" is an astonishing western filmed in real time. Gary Cooper has till the noon train to deputize people willing to stand up to Frank Miller, the town's former troublemaker. Fred Zinnemann's tense direction makes the audience feel every ticking second! Gary Cooper usually sucks, but I identified with his crisis in this film. What would you do if asked to be a deputy and possible casualty for the sake of justice? I sure wouldn't wear that tin star! I sure would get shot!
Rating:
Summary: A Great Story of Bravery in the Face of Imminent Danger
Review: Gary Cooper portrays Will Kane, a small town marshal who is retiring, getting married, and moving away to do other things. Just before departing with his new bride (Grace Kelly), he learns that a murderous outlaw he captured five years ago has been pardoned and is coming in on the noon train seeking revenge. Three of the outlaw's men are already waiting for their leader at the station. Initially, Kane takes the townspeople's advice and hurriedly leaves with his wife. But he soon determines that he must go back and face the villain. First, he believes he and his wife stand a better chance in town than alone on the prairie against four assailants. Second, even if he weren't immediately caught, he could be found and killed at any time in the future. Third, his replacement isn't expected until the next day, so the town is without law enforcement. Things could get so out-of-hand that the town would again become unsafe for decent people to raise their families, as it was before he became marshal. Though Kane's decision entails great personal risk, he strongly believes that it is the right thing to do. Back in town, Kane sets about the formidable task of trying to form a posse, with less than an hour until noon. But support is not forthcoming. Concerned for themselves and their families, people are less than eager to join with him in what looks like a suicide mission. The credulity of the characters' reasoning and reactions as noon draws near is eminently believable, and is a big part of what makes this movie so great. With each passing minute, Kane's untimely demise seems more certain. This is a powerful movie about integrity and courage in the face of adversity; about strength of character and putting the common good before self. These virtues are exemplified amidst a spectrum of other human responses. Neither the age of the movie nor the fact that it was filmed in black & white detract from its excellence. Tex Ritter's music accompanies Kane to great effect. Superbly acted, suspenseful, and thought-provoking, this is a timeless classic.
Rating:
Summary: Not Technically a 'Western'..... but a good film!
Review: This movie isn't really a true 'western' because a true western uses the west as a backdrop....making it a crucial part of the film. Well, this movie really isn't about the backdrops...it's about Gary Cooper standing up by himself to do the right thing (fighting off the bad guys), even if he has no one else on his side fighting with him. So, this movie is more of a morality themed film rather than a western. This movie is so successful because, it's short, and it gets to the point, and it has a very good story. If you think about why Hollywood would come out with a film that has a moral about "doing the right thing, even if you must fight alone" it's because at the time 'High Noon' came out (1953) , the U.S. was fighting the in Cold War..against the U.S.S.R...and it seemed the U.S. was the only country standing up to the Commies, like Gary Cooper in "High Noon" standing up against the 4 bad guys. My dad told me that, and it makes perfect sense to me, so I thought I'd put it in this review. This is a great movie...even for people who aren't fans of westerns (like me) watch it! You will find it better than you expected it to be.
Rating:
Summary: Masterful filmmaking
Review: "High Noon" is frequently mentioned among the best Westerns and even among the best films ever made. It is rated #33 by the American Film Institute on their top 100 of the 20th century. It was nominated for seven Academy Awards and won four, including best actor for Gary Cooper, best song and best editing. But, was it really that good? After all, it was a bare bones black and white Western in an age of Technicolor spectaculars. It was that good and more. "High Noon" was not really a Western as the genre had been defined to that point. It was more of a character study of the human condition. It just happened to be set in the American West. Westerns at that time were action films with white hats and black hats. There were fistfights and gunfights throughout the entire film. They clearly differentiated good guys, on the side of justice and righteousness, from bad guys who spurned laws and sneered at those who obeyed them. The heroes were always noble and fearless, typified by actors like John Wayne and Roy Rogers. Moreover, the good guys always stuck together, despite all odds, to prevail against the outlaws. "High Noon" was the complete antithesis of this formula. Kane is a flawed hero who is proud to a fault. Although it is clear who the villain is, we never see him until the last ten minutes of the film. The story is not about good and evil in the larger sense. Instead, it is about conviction and integrity on a personal level. Kane is portrayed as stubbornly putting his own feelings above the safety of the town. He stands against everyone, willing to sacrifice his marriage, his friendships, his good name and his life for his honor and self-respect. The biggest departure from the formula was his unabashed manifestations of fear. This was unheard of for a Western hero. Controversy swirled around this film, released in 1952 amid the Red Scare and the McCarthy Era. The fearful and selfish townspeople who turned their backs on Kane were seen to be allegorical of the movie industry that abandoned those who were blacklisted as communists. Many in the industry saw it as smug slap in the face. John Wayne called the film "un-American", preferring to think that Americans would always stick together to fight injustice, ignoring the reality of numerous branded actors who couldn't get work. Stanley Kramer, in an interview forty years later, continued to deny that there was any hidden agenda. He said it was a film about human nature, and the coincidental fact that there was such a striking parallel was just an indication that human nature doesn't change. The vanguard direction by Fred Zinnemann was nothing short of brilliant. Zinnemann eschewed the Western formula and struck out in a completely different direction. He chose black and white to give it a stark look. The sky was overcast rather than sunny and blue. The entire film was shot for only $700,000 (an extremely small sum even for 1952) almost completely on a studio lot. This was the first Western, (and possibly the first film) to tell a story in real time (the story transpires in roughly the same amount of time as the length of the film). The villainous Frank Miller (Ian MacDonald) was known only through dialogue and he did not actually appear until the end of the film. Zinnemann hung the pall of Miller ominously in the air like an evil spirit who was feared but unseen. This made the villain bigger than life and added to the suspense. Even when Miller finally arrived on the noon train, Zinnemann didn't let us see his face for a full two or three minutes, showing him strapping on his guns from behind and talking to his gang. Finally, there was no action until the very end of the film. He uses two very effective techniques to build suspense. The first is the use of clocks. In the beginning of the film, they were small clocks in the background that had short pendulums that swung quickly. As we got closer to noon, the clocks got bigger and the pendulums swung more slowly making them more menacing. At noon, the clock took up the entire screen as we waited for the last tick and the train's whistle. The second technique was the repeated use of a static vista looking down the railroad tracks from ground level with no train. This was a constant reminder that Frank was coming. This created an extraordinary amount of tension. Tinnemann's use of reaction shots and the editing by Harry Gerstad and Elmo Williams (who won an Oscar) were also brilliantly done. The use of music was also innovative. Rather than a full orchestra pumping out heart pounding adventure music, we had a simple ballad featuring a harmonica and the voice of country great Tex Ritter. This haunting tune emphasized the loneliness of Kane's situation. The acting was marvelous. Gary Cooper is masterful as the tormented Marshall who stands against the entire town and his own fear to face down the Miller gang. This film launched Grace Kelly's career. She was not only shockingly beautiful but gave a fantastic performance as Kane's wife, who all but abandons him. Lloyd Bridges also shines as the hotheaded deputy. Other notables included Lon Chaney, Harry Morgan, Katy Jurado and Lee Van Cleef. This film redefined an entire genre. It has been called the quintessential Western, but that is too narrow in its praise. It is quintessential filmmaking, a perfect 10. It is required viewing for film buffs who appreciate the creative aspect of the art. Besides that, it's great entertainment.
Rating: 
Summary: Cooper, Kelly, and the clock
Review: By the time the strong, soft-spoken "High Noon" was released in 1952, Westerns had become increasingly thoughtful. Facing the villain may have been a necessity, but it was done with doubts or drawbacks, even recriminations. In "High Noon" the respected marshal of a small, isolated town must face the return of a convict being released from the prison term to which the marshal had sent him. The marshal has just married a Quaker woman and is retiring from his post to run a store in a distant town. Knowing that the ex-con's primary objective in coming to town is to kill the marshal, the population (including venerable character actors Thomas Mitchell, Otto Kruger, Lon Chaney, Jr.) would just as soon the marshal leave as quickly as possible and let nature take its course. (I THINK the idea is the ex-con and his henchmen will ride into town, ..., maybe rob the bank, then be on their way.) The marshal, however, feels morally compelled to stand his ground against the threat, asking only for a little support. Slowly, the whole town turns against him. Carl Foreman's tight screenplay sets up the situation expertly, and the fine craftsman Fred Zinneman was chosen to direct. The picture opens on the plains outside town, and the first close-up belongs to Lee Van Cleef, which is perfect. He had the meanest eyes in movies: one glance and you knew somebody was in deep trouble. When the story moves into town, there are constant references to time, with a wall clock visible in three opening interiors. Because the story is told in "real time", the editing and continuity are crucial, and the editors deservedly won an Oscar, as did Dimitri Tiomkin's theme song, sung by Grand Ole Opry star Tex Ritter. Gary Cooper won his second Oscar playing the marshal. He was obviously old enough to play the heroine's father, not her bridegroom; but I think his maturity heightens the film's sense of impending mortality. The marshal is a man with death on his mind, so there is a minimum of that goofy shyness that was a part of Cooper's romantic shtik. In contrast to the marshal is his deputy, played by a young Lloyd Bridges, whose bland good looks and slightly puzzled expression cause the other characters to dismiss him as immature. And the sultry Katy Jurado is suppose to be his mistress!? She treats him like cookies and milk. Completing the contrast is Katy Jurado's brunette mystery against the pellucid beauty of Grace Kelly. This was Grace Kelly's second picture -- she gets fifth billing. She had made her film debut the year before in a psychological study called "Fourteen Hours", which evidently is not available for home viewing. (As I recall, a distraught Richard Basehart is threatening to jump from a high building ledge, unaware of how he is affecting other lives, including that of Grace Kelly's character, a young socialite seeking a divorce at her lawyer's office in a nearby building.) In "High Noon", once the ex-con and his gang enter town, the climax is succinct and surprisingly cynical. Suffice it to say, the townspeople finally come out of their hiding places to give support. Without a word, the marshal takes off his tin star and throws it in the dirt. So much for frontier law and order. It's a quiet and powerful ending for a quiet and powerful Western.
Rating:
Summary: Cooper is Great
Review: I absolutely loved this movie. I think this film... deals morerealistically with human nature than any other films I have ever seen. I would dare say it is almost perfect. The one suggestion I would have: If you've never seen it, don't go out and see the botched TBS remake of it first. This film is an original and deserves to be seen as such....
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