On the day he gets married and hangs up his badge, lawman Will Kane is told that a man he sent to prison years before, Frank Miller, is returning on the noon train to exact his revenge. Having initially decided to leave with his new spouse, Will decides he must go back and face Miller. However, when he seeks the help of the townspeople he has protected for so long, they turn their backs on him. It seems Kane may have to face Miller alone, as well as the rest of Miller's gang, who are waiting for him at the station... Written by
The theme song--"Do Not Forsake Me, Oh My Darlin'"--was originally going to be used throughout the picture. Stanley Kramer, in his autobiography "It's a Mad, Mad, Mad, Mad World: A Life in Hollywood", wrote: "I can't begin to calculate how much that song did for the picture, but my admiration for it, at first, led me astray. I became so enamored of the song I overused it, allowing it to cover some of [Gary Cooper]'s most dramatic moments. When we finally had the picture ready for its first preview, which was to be in Inglewood [California], the song was everywhere in the movie. By the time we got halfway through the showing, the audience was obviously restless. Before we were three-quarters of the way through, I knew why. At each repetition of the song, they started to laugh and then mockingly follow the lyrics. After the disastrous preview, everyone said I should get rid of 'that damned song', that it made a joke of the whole picture. Fortunately I didn't agree. I insisted that the song was great and that I'd simply used it too much. I redid the soundtrack and forsook at least half of the 'Do Not Forsake Me's'. The result was miraculous." See more »
In the climactic crane shot when Kane is alone in the town square, high-voltage power lines and poles are clearly visible in the skyline. See more »
Don't shove me Harv. I'm tired of being shoved.
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High Noon is one of the most loved films of all times thanks to the elements that came together to make it the classic that it is. The movie owes a lot to Fred Zinnemann for his tight account of this story by Carl Foreman. The film benefits from Dimitri Tiomkin's great score and the great cinematography by Floyd Crosby.
This is a film that packs a lot of symbolism because of the times when it was done. Those were the days of the communist hysteria where many people in the industry were accused, tried and lost jobs because when they faced the HUAC and Senator Joseph McCarthy.
Gary Cooper plays a man who is decent enough to return to the town where he just has gotten married and has finished his tour of duty. His conscience doesn't let him leave his post as he delays his plans and goes back to defend the town from the bandit who's been freed by Northern judges, and is coming back to seek revenge from Marshal Kane and the town.
Gary Cooper embodied the all Amercian hero. He was an actor who could do no wrong, as he proves in his take of Marshal Kane. We see him as the clock is ticking away toward noon time when the train will arrive in Hadleyville. We see him perspire as he goes around trying to get people help him deal with the problem, to no avail; he will have to do it himself. In the process, he clearly disappoints his new bride, who is horrified at the prospect of losing the man she clearly loves.
Grace Kelly was such an elegant figure that it's hard to imagine she would be in Hadleyville at all! Katy Jurado was also excellent as the jaded Helen Ramirez, the woman who owned a lot of businesses in town. Also effective, Thomas Mitchell, as the mayor of the town and Lloyd Bridges, as Harvey.
This is a film to treasure.
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