High Noon

Rating:
Summary: Outstanding
Review: I really loved this movie when it was shown on TV a long time ago, so when the chance came up to buy it I did. The story line is easy to understand, being shot in B&W makes it stark but also blends in for the time is was set in, the actors (Cooper, Kelly, Bridges.....) make a good movie great!

Rating:
Summary: The All-Time Champ
Review: High Noon has a fascinating critical pedigree. Hailed when it first came out as an instant classic, it suffered a downturn when Andrew Sarris and his auteur nonsense took on a certain cachet. However, now that the auteur theory has come under increasing attack (finally!) and is being held up to ridicule, High Noon is once again praised as a genuine classic. For my part, it never should have suffered the critical downturn, because it is a brilliant film. It is also a bitterly witty film, with some lines of dialogue so dryly funny, you can taste the acrid dust. Don't let the film school auteurists sway you, High Noon is a great, great film. Not just a great wesetrn.

Rating:
Summary: High Doom
Review: This film lacks the quality found in the genre of the classic American Western--"Shane," "The Searchers," "She Wore a Yellow Ribbon," "Lonesome Dove" and "Red River" are masterpieces in comparison to this flawed and troubled metaphor of the McCarthy era. Not only is High Noon's plot implausible, heavy-handed, and uneven, but also the film's attempt to highlight the dual themes of duty and honor falls abysmally short of its mark. Although Cooper may have received an Oscar for his portrayal of the town's lawman, the Academy gave this Oscar more as a gift to an actor now long past his prime, rather than as an award for a distinguished performance. By comparison, Bridges steals the show as Cooper's feckless and cowardly Deputy, while Kelly and Jurado provide welcome relief to the viewer's weary eyes. In the end, High Noon is a yawner. Rather than creating agonizing suspense as the ubiquitous clock ticks toward the appointed hour, the director provides a subliminal message to the viewer to shake one's watch with the desperate hope that time will pass more swiftly.

Rating:
Summary: The Absolute Peak
Review: HIGH NOON continues to resonate with audiences today, almost 50 years after its 1952 release. That such a dark, bleakly cynical movie should remain so popular is at first thought surprising. Of course, there are obvious reasons why this is so. It is a terrifically tense story. Has involving characters, tight script, splendid direction, wonderful editing, cinematography, soundtrack, and a towering performance from Cooper (and not due to his suffering with an ulcer while it was filming, as some would have you believe). But it is reaching new audiences, especially women. Indeed, it is being taught in many feminist courses in college. And the feminist approach to Cooper and his dilemma and his reaction to it is very intriguing. Here's a man who is the king of the town, the toughest man around, lord of his realm. However, he meets a younger woman, falls in love and marries her. Then comes word that four men are coming on the noon train, and very likely are coming with one purpose, to kill him. His wife wants him to leave and they start out. But he stops and says he can't leave: "They're making me run and I've never run from anyone before." Back they go to town. Everytime he is asked why he isn't leaving, his only response is: "I don't know." The feminist take on this makes perfect sense: Here's the lord of his realm newly married, and his wife has him quitting his job, leaving his town, his friends, and moving to a town of her choice, where he will open a store (her choice) and help her run it (her choice). He is no longer his man, he is her man. By staying and facing his would-be killers, this man is rebelling, making a last-ditch stand to preserve his "masculinity", to show himself and others -- and his wife! -- that he is still in control. This adds a rich new dimension to every situation and character conflict throughout the film. Watch it from this perspective and you'll see an entirely new film. Entirely new and still one of the grand all-time classics. Interesting sidebar: During the filming, Cooper became friendly with writer Carl Foreman. They agreed to form a company, Cooper would star, Foreman write, Stanley Kramer produce. But John Wayne, Ward Bond and others wanted Foreman blacklisted. They put pressure on Cooper and director Fred Zinneman to quit, or their careers would be ruined. Cooper and Zinneman refused, sticking by Foreman. When liberal Kramer caved in, Cooper threatened to walk, which meant there'd be no film, since it was an independent production, and a Salinas lettuce grower had invested only if Cooper would star. Eventually, Wayne and the others got their way and Foreman was blacklisted. Kramer backed out of the company. Cooper offered to go public with Foreman about the company, even offered to go to Washington to testify on Foreman's behalf before the House Un-American Activities Committee (this from a man who was a deservedly awkward and embarrassed friendly witness in 1947, even though he named no names and said he wanted no-one hurt). But Foreman finally threw in the towel, was blacklisted, and moved to London. But ever after, he always said that Cooper was the only "big one" who stood by him. He also sent to Cooper for first consideration all of his scripts after this, including: BRIDGE ON THE RIVER KWAI, THE KEY and GUNS OF NAVARONE. John Wayne's despicable role in the Hollywood blacklist is something which is rarely talked about. Wonder why?

Rating:
Summary: True Western
Review: I feel sorry for reviewer #1 who doesn't understand the complexities of standing up for what is right or for one's self. This great film depicted the true nature of people. Those who deserted the sheriff, those who forgot his friendship, those who had taken help from him and only gave him lip service in the end and a bride who's love eventually won out. The two key characters are Gary Cooper and the friend and bodyguard of the sheriffs ex-girlfriend. Both showed the grit it takes to be called a man, even though the bodyguard was instructed not to help Gary Cooper he had the character makeup. 4 tough gunnies could very easily take over a small town in old west days. Remember, the sheriff only had a few hours to organize help. Most people didn't even live in town in those days. Of all westerns, only Lonesome Dove compares in reality. Don't miss this one. Great acting by everyone on screen. Flawless directing.

Rating:
Summary: High Swoon
Review: High Noon, the greatest Western of all times? Please? The plot is ludicrous. An entire town quivering behind closed doors in the Old West. Hardly. Every family in that era had a rifle, shotgun, and pistols and were more than willing to use them. Remember Coffeyville, Kansas, and the Dalton Brothers--now those Dalton boys were a true criminal crew. Unlike these pansy-thugs who arrive in town to murder Cooper and who fail miserably in their attempt. In the Old West these props-for-criminals would have been shot down (bushwacked) in quick order by the good citizens. America then, and the Old West, had plenty of guns and were willing to use them. In this film, the town should have turned their armaments on Cooper (who acted as if he were already dead), Tex Ritter who sounded as if he were dying during his hideous singing, and the casting director who selected Cooper, worn out and depleted, as the geezer who would plunder the breathtaking Grace Kelly (no wonder she left the country), and any of the other cast who participated in this ordeal.

Rating:
Summary: A real Classic
Review: This is one of the all time classic of it's day or any day. Gary cooper, often said to be stiff or wooden in his acting is wonderful here. His stiffness can surely be attributed to the unending suspense of the situation. A new wife and yet death may strike at any moment. The tension rivals Alfred Hitchcock's productions. If for no other reason this movie is worth the time just for the wonderful Grace Kelly.

Rating:
Summary: You'll love this DVD
Review: This is a big western classic but you'll love this film even though you don't enjoy westerns. The nature of the film is to analyze human behavior and characteristics. I think "Cat on a hot tin roof" (Elizabeth Taylor, Paul Newman) can be good shot to compare. They are absolutely the same styles, but only the athmosphere is different. There is no classical western action with exited cowboys and indians. Also the special features has very satisfactory interviews and nice narration. Quite a good shot for classical collectors.

Rating:
Summary: Excellent and Riveting! A Must See!!!!
Review: I am not a westerns fan or a fan of black and white films, but as an assignment for a Liberal Arts course I needed to watch this film and compare it to Individualism.

As I was watching this film... I got so engrossed in the whole thing that I had not jotted down one single note! I had forgotten about the piece of paper!

My heart actually stopped when the clock hit HIGH NOON!

Rating:
Summary: The Greatest Film of all time
Review: I saw High Noon for the first time in film school ten years ago. We were told it was no good and watched it in conjunction with Rio Bravo, which we were told was a perfect film. I argued with the professor. I couldn't see what was great about Rio Bravo (still can't!). It was silly, lazy, Angie Dickinson and Wayne were plain embarrassing in their supposedly comic moments. But High Noon actually is everything those film school people say Rio Bravo is. I don't understand this except that Howard Hawks is the darling of the film school crowd and Fred Zinneman isn't. Trust me, High Noon is the real deal. Rio Bravo? The emperor has no clothes.