“This is just a dirty little town in the middle of nowhere. Nothing that happens here is really important.”– The Judge
First a confession! Dave over at the excellent Goodfella’s Movie Blog is in the middle of a year-by-year countdown of the best movie of each year. If you have yet to visit his site please do, you won’t be sorry. Now that’s not the confession, so what is, you ask? Well, in my comments at Dave’s blog for the 1952 best film selection, I stated that I was not a big fan of Fred Zinnemann’s “High Noon”; subsequently I did not include it in my own list of favorite films for that year. Recently, TCM ran the film again, and unlike the many times it has been aired before, I did not ignore, but decided to revisit it for the first time in many years. So here is my big confession, truth be told, I was wrong, “High Noon” is one of the great films of 1952 and one of the great westerns of all time! Now this won’t come as a shock to many of you who even without my proclamation already knew “High Noon” was a great movie. Frankly, I am just catching up.
Now that I got that weight off my chest, I can move on…
John Wayne proclaimed his dislike for this movie, seeing it as a parable for the blacklisting and anti-communist furor that was taking hold in the early 1950’s. He found it disgraceful that Marshal Will Kane (Gary Cooper) tosses his badge into the dirt at the end of the film. Seven years later, Wayne and Howard Hawks would made “Rio Bravo” as a response to the radical “High Noon.” As late as 1971, Wayne, in a Playboy magazine interview, called “High Noon”, “the most un-American thing I’ve ever seen in my whole life.” If Wayne disliked what the film stood for, Hawks abhorred it, insulting his sense of professionalism. He therefore made a film where the sheriff refuses help from the town’s citizens, instead accepting help from only other “outsiders” like the young gunslinger and the town drunk. Whereas, Will Kane, in “High Noon”, was an accepted member of the town’s social circle with friends. John T. Chance, in “Rio Bravo” separates himself from the town, he is a professional lawman, an outsider and not part of the town’s citizenship.
Ironically, over the years, people and even countries, from both sides of the political spectrum have come to find their own personal values in this film. The former Soviet Union accused the film of being “a glorification of the individual.” Pro-McCarthyites saw the film as communist propaganda and anti-American. Yet President Ronald Reagan loved the film for it lead character’s “strong sense of and dedication to duty and law.” Both Presidents Eisenhower and Clinton loved the movie. Clinton ran the film no less than 17 times while in office! He even recommended it to then incoming President Bush. So how can one film be interpreted and satisfying on both sides of the political fence? Possibly, because, no matter where you stand politically, the film has come to symbolize the courage and perseverance an individual needs during hard and difficult times. Here was one man who stood up for what he believed in, despite the abandonment, the lack of conviction and courage from the community he helped build and protect. Perhaps the Soviet Union was right, “High Noon” is the glorification of the individual, how American!
Even before the film was completed, staunch conservatives were attacking it. The film was made during the height of the anti-communist witch-hunts. The House of Un-American Activities (HUAC) was finding communist everywhere including in your toaster! Hollywood was under siege, forced by Congress to rid itself of any writer, actor, director who even smelled of leftist leanings. Socially conscience filmmakers were driven out of the country, Jules Dassin, Joseph Losey to name two, while others were put in jail (the Hollywood 10). Still, more lost their livelihood and had to retreat to theater or get out of the business all together. Screenwriter Carl Forman, a known left-winger, was eventually fired by producer Stanley Kramer who was under pressure to do so. There is plenty of irony when you consider that star Gary Cooper was conservative, as was composer Dimitri Tiomkin, both card-carrying members of the Motion Picture Alliance for the Preservation of American Ideals, an anti-communist group that worked with the HUAC in “cleaning up” Hollywood. Additionally, Tex Ritter who sang the title song shared similar sentiments. Lloyd Bridges and cinematographer Floyd Crosby (father of rock singer David Crosby) were “gray listed” for working in the film. producer Stanley Kramer and director Fred Zinnemann had liberal views and while not blacklisted were considered sympathizers. 
The plot is simple, three men ride into the town of Hadleyville, one is Ben Miller, brother of recently released ex-convict Frank Miller, who is arriving on the noon train. Five years ago, Marshal Will Kane sent Miller to prison. Originally, Miller was sentenced to death until the courts changed his sentence to life in prison. Eventually he was released after serving only five years. At the time of his sentencing Miller swore vengeance and now he has come back to collect. This same day, Will Kane is retiring as Marshal and marrying his young sweetheart Amy (Grace Kelly). Right after the ceremony, word arrives that Miller is out of prison and coming to town, to kill Kane. His neighbors tell him it is best if he and his wife leave and disappear. They hustle the couple quickly out of town; however, once on the trail Kane has second thoughts. His wife tells him it is crazy to return, Kane says he has never run from anyone before; he has to go back. When he seeks help from the town people, they refuse. Some resented Kane’s tactics while he was Marshal. Others say since Will is no longer Marshal, why should they risk their lives. Some thought life was better years ago when Frank Miller was here and the town was wide open. Kane’s Deputy Marshal Harvey Pell (Lloyd Bridges) quits, blaming Will for not speaking up for him so he could inherit the Marshal’s job upon his retirement. Even the judge who sentenced Miller is packing and leaving town, urging Kane to reconsider and leave too. “The man is crazy”, he says.
Approximately 1 hour and 11 minutes into the film, director Zinnemann and his editors, create a mosaic of tension, and a class in film editing. It starts with Kane sitting at his desk writing out his last will and testament, Dimitri Tiomkin’s music begins a tense pounding. Kane looks up at the clock, in extreme close up we see the swinging of the pendulum, the camera moves upward toward the hands of the clock, which reads 11:58. We cut to the outlaws waiting at the train station, then to a low angle shot of the tracks. Next, we see the interior of the church, close-ups of the solemn parishioners. Zinnemann cuts to the saloon, its customers. Back to the pendulum swinging, Will Kane at his desk, a long shot of the exterior of the town, cut to another angle of the town. Back to the railroad tracks, the killers waiting. By this point, the pace of the cuts have accelerated. Zinnemann cuts to a close up of the previous Marshal sitting in his chair, a friend cowering in his home, a close-up of Helen (Katy Jurado) the saloon owner, and then a close up of Amy. Back to the swinging pendulum, and then the clock, as it is about to strike noon. Quick cuts to the killers, Amy and then, the sudden sound of the train’s whistle. It’s high noon. The camera is back on the tracks and far off we see the smoke puffing from the train engine, the music stops, the quietness is startling; we are back looking at Kane.
It’s time.
Kane comes outside on to the street, he sees Amy and Helen on a buckboard riding toward the train station. Zinnemann now gives us a shot the Marshal in close up. As he looks around Zinnemann’s camera begins to pull back. A crane shot, the camera moves back and up high over the entire town. The streets are empty except for the Marshal.
In the final sequence, we see Kane marching toward his confrontation with the band of four who are walking toward him from the other end of town. The gun battle ends as we expect with Kane the victor but only after he gets some unexpected help from his Quaker wife, who came back from the train when she heard the first gunshots, and shoots one of the outlaws in the back just as he was about to kill Will.
The town’s citizens come out of hiding surrounding Kane and his wife. He looks at them in disgust, takes off his badge and tosses it into the dirt. The Marshal and his wife climb up on the buckboard and ride off.
“High Noon” is less than 90 minutes long and takes place in almost real time starting with the three men riding into town and the wedding of Kane and his young bride. Time is a recurring motif in the film. We constantly have shot of clocks, men looking at watches as the minutes tick away toward the arrival of the noon train and Frank Miller. The film is unconventional in many ways. Unlike most westerns, there is little action here, except for a fight between Kane and his former deputy Harvey and the climatic ending. At one point, the Marshal openly admits to Harvey that he is afraid. There is also no talk of the west being the opening of a new frontier or the beginning of a new community, themes common at the time to western film mythology. “High Noon” is nothing a typical western is suppose to be, it is the antithesis of John Ford’s more romanticized version of west. No wonder The Duke hated it.
Additionally, much was made at the time of the age difference between Cooper, who was fifty-one, and looked a lot older (he was ill), and the young and beautiful Grace Kelly who was about twenty-three.
Cooper gives an impressive performance as Kane. Looking visually worried, sweat on his face, bound by a sense of honor, he finds himself standing alone amongst the town people he swore to protect. Like John Wayne, Gary Cooper is one of cinema’s iconic western heroes, having appeared in “The Virginia”, “The Plainsman”, “The Westerner”, “Vera Cruz” and “Man of the West” among others.
“High Noon” is one of the most beautifully framed and photographed films, brilliantly shot with deep rich blacks. I was truly impressed by the framing of many of the images that could have easily been plucked from the film and work elegantly as black and white still photographs. The man responsible was Floyd Crosby, who surprisingly did not even receive a nomination for Best B&W Cinematography that year. The music by Dimitri Tiomkin has become as iconic as Cooper’s image walking down the empty streets of the town. The haunting title song with the word’s “do not forsake me oh my darling”, a constant reminder that Kane has been abandoned by everyone. Tiomkin by the way would score Hawks “Rio Bravo.” The film also has some great character actors including Lee Van Cleef as one of the killer’s, Lon Chaney Jr. as the former sheriff, Harry Morgan as a so called friend of Kane’s, Katy Jurado as the saloon owner and former lover to both Will Kane and Frank Miller. Most recently, she had hooked up with the young immature deputy played by Lloyd Bridges. Other well known charcter actors include Thomas Mitchell, Jack Elam Otto Kruger and Harry Morgan.
The film’s political overtones are still there, a reminder of uglier times. Though they have faded from memory of some, younger viewers may even be unaware of any political overtones; just read the comments on IMDB. Still the film resonates with many in the audience today. The politics of prisoners receiving early releases, their sentences being reduced is as timely today with audiences as it is portrayed in the film. Note the discussion about this topic in the church when Will seeks help from the churchgoers. One of the town people speak out saying Miller’s release from prison is not their fight, it is the responsibility of those northern politicians, who released him from prison. In the final analysis, “High Noon” does not fit snugly into any one philosophy. It does not take a straight liberal or a conservative stance. Viewers looking for a particular ideology that fits neatly into their vision will be disappointed. Politically, there is no comfort food here such as conservatives find when they watch FOX news or liberals find watching MSNBC.
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The previous time James Stewart and Alfred Hitchcock worked together was on Rope; an experimental piece for Hitch that was considered a failure by most critics of the time. Stewart himself was not happy with the picture, or with the role, which he felt was not right for him. Additionally, there was the fact Rope was not a financial box office success. Some cities even requested cuts before it was to be shown. In Chicago it was banned outright. This was most likely because the storyline was a bit too close to the real life Loeb-Leopold case of the 1920’s. Subsequently, when Hitchcock called about Rear Window, Stewart was hesitant to accept, especially after hearing that, like Rope, the film would take place mostly on one set. Furthermore, he would be confined to a wheelchair for the entire film.
Twenty Four Frames 