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High Noon (1952) Poster

(1952)

Trivia

It took 28 days to shoot the film, after 10 days of rehearsal.
In 1951, after 25 years in show business, Gary Cooper's professional reputation was in decline and he was dropped from the Motion Picture Herald's list of the top 10 Box Office performers. In the following year he made a big comeback, at the age of 51, with this film.
Gregory Peck, an activist liberal Democrat who strongly opposed blacklisting, later said that turning down this film was the biggest regret of his career, although he modestly added that he didn't think he could have played the lead character as well as Gary Cooper did.
Lee Van Cleef was originally hired to play Deputy Harvey Pell. However, producer Stanley Kramer decided that his nose was too "hooked", which made him look like a villain, and told him to get it fixed. Van Cleef refused, and Lloyd Bridges got the part. Van Cleef was given the smaller role of gunman Jack Colby, one of the Miller gang.
Its loss in the Best Picture category to the much-derided The Greatest Show on Earth (1952), by Cecil B. DeMille, is usually cited as one of the biggest upsets in the history of the Academy Awards. This loss is often seen as an effort to satisfy Red-baiting Sen. Joseph McCarthy, as DeMille was one of his strongest supporters.
Writer Carl Foreman was blacklisted by the House Un-American Activities Committee shortly after the film came out. In fact, he had fled to England by the time the film was finished.
The movie is often described as "a western for people who don't like westerns".
Gary Cooper and Grace Kelly had an affair that lasted for the duration of filming.
John Wayne strongly disliked this movie because he knew it was an allegory for blacklisting, which he and his friend Ward Bond had strongly and actively supported. Twenty years later he was still criticizing it in his controversial May 1971 interview with Playboy magazine. Inventing a scene that was never in the movie, he claimed Gary Cooper had thrown his marshal's badge to the ground and stepped on it. He also stated he would never regret having driven blacklisted screenwriter Carl Foreman out of Hollywood.
Director Fred Zinnemann said that the black smoke billowing from the train is a sign that the brakes were failing. He and the cameraman didn't know it at the time, and barely got out of the way. The camera tripod snagged itself on the track and fell over, smashing the camera, but the film survived and is in the movie.
Among other accomplishments, the film was a milestone in scoring. It introduced the idea of a theme song to be marketed separately from the movie, and to be a motif for the instrumental score throughout the movie. Tex Ritter--John Ritter's father--sang the song "Do Not Foresake Me", whose lyrics are from the point of view of the hero appealing to his new wife, Amy, to stay with him.
Gary Cooper had a bleeding ulcer at the time of filming.
This film was intended as an allegory in Hollywood for the failure of Hollywood people to stand up to the House Un-American Activities Committee during the Sen. Joseph McCarthy Red-baiting era.
The character played by Gary Cooper was originally named Will Doane. The name was changed to Will Kane because co-star Katy Jurado had difficulty pronouncing the name Will Doane.
There was some question as to the casting of Gary Cooper, since he was 50 and Grace Kelly, playing his wife, was only 21.
Grace Kelly was cast after Stanley Kramer saw her in an off-Broadway play. He arranged a meeting with her and signed her on the spot.
Producer Stanley Kramer first offered the leading role of Will Kane to Gregory Peck, who turned it down because he felt it was too similar to The Gunfighter (1950). Other actors who turned down the role included Charlton Heston, Marlon Brando, Kirk Douglas, Montgomery Clift and Burt Lancaster.
Fred Zinnemann's meticulous planning enabled him to make 400 shots in only four weeks.
Film debut of Lee Van Cleef, who does not have a word of dialogue.
Until his death, director Fred Zinnemann fought not to have this film colorized, saying that he designed it in black and white and that it should be shown that way. He was unsuccessful, however. A colorized version was released by Republic Pictures Home Video, which acquired the film years prior, and was broadcast several times over the several cable outlets of Ted Turner, who was a strong advocate of the process.
Although the picture takes place between 10:35 a.m. and 12:15 p.m.. slightly longer than the 84-minute running time, this was due to the re-editing ordered by Stanley Kramer and Fred Zinnemann, both of whom were unhappy over the first assemblage. Editor Elmo Williams experimented by using the final portion of the material shot and condensed it to exactly 60 minutes of footage timed to real-time in the film. Thus the film we see is Williams' experimental version, which met with both Kramer's and Zinnemann's approval.
In the fight scene involving Gary Cooper and Lloyd Bridges, Lloyd's son Beau Bridges, then a youngster, was in the hayloft watching the filming. When water was thrown on his father after the fight, Beau could not help laughing, requiring the scene to be shot a second time. Cooper was not well and in pain but was gracious and understanding, according to Lloyd.
"Do Not Forsake Me, Oh, My Darlin'" was the first Oscar-winning song from a non-musical film,
Bill Clinton's all-time favorite film. He watched it 17 times during his two terms as President of the United States.
Ranked #2 on the American Film Institute's list of the ten greatest films in the genre "Western" in June 2008.
Although the film takes place between 10:35 a.m. and 12:15 p.m, you would need to start watching the film at 10:50 a.m. in order for Noon in real life to synchronize with the "High Noon" of the film.
Fred Zinnemann wanted a hot, stark look to the film. Cinematographer Floyd Crosby achieved this by not filtering the sky and having the prints made a few points lighter than normal.
Since Gary Cooper was 50, 38-year-old Lloyd Bridges was cast as 20-something deputy Harvey Pell.
Gary Cooper was responsible for getting soon-to-be-graylisted actor Lloyd Bridges the role of Harvey Pell.
The film is set in Hadleyville, population 650, in the New Mexico Territory, on a hot summer Sunday. The 37-star flag the judge removes as he prepares to flee shows that the time frame is sometime between Nebraska's admission as the 37th state on March 1, 1867 and Colorado's admission as the 38th state on August 1, 1876.
Although John Wayne often complained that the film was "un-American", when he collected Gary Cooper's Best Actor Oscar on his behalf at the The 25th Annual Academy Awards (1953) he complained that he wasn't offered the part himself, so he could have made it more like one of his own westerns. He later teamed up with director Howard Hawks to make Rio Bravo (1959) as a counter-response.
The 1980s were a tumultuous time in Poland. Workers' strikes in Gdansk led to the formation of the Solidarity movement. In 1980 Lech Walesa was elected chairman of this reform movement. The red and white Solidarity logo became an international icon that literally wrapped itself around the city, creating a visual momentum that led to a political revolution. Once again, posters played a pivotal role in defining the future. In 1989, the day before the country was to vote on the political future of Poland, a poster featuring an image of Gary Cooper from this film was plastered on kiosks and walls around the country. This landmark image of the famous actor strolling towards the viewer depicted him carrying not a gun, but a voting ballot, and wearing a Solidarity logo above his sheriff's badge that read, "It's high noon, June 4, 1989." As Frank Fox, former professor of Eastern European History, stated, "Indeed, an American Western was an apt symbol for a political duel that marked the beginning of the end of Communism in Eastern Europe. Gary Cooper would have approved."
Little to no makeup was used on the face of Gary Cooper to show his lines and how worried he was.
Henry Fonda missed out on the film because he had been "graylisted" in the industry due to his political beliefs.
As Carl Foreman's script bore certain similarities to John W. Cunningham's story "The Tin Star", producer Stanley Kramer bought the rights to Cunningham's novel to protect the production against accusations of plagiarism.
A comic relief scene involving town drunk Jack Elam and an entire subplot with James Brown playing another marshal didn't make it into the final cut.
Gary Cooper didn't use a stunt double in the fight with Lloyd Bridges.
Though supposed to be the older man, at 45 Lon Chaney Jr. was actually five years younger than Gary Cooper.
In 2007 the American Film Institute ranked this as the #27 Greatest Movie of All Time.
Katy Jurado says, "One year without seeing you" in Spanish, to which Cooper replies, "Yes, I know."
Stanley Kramer removed Carl Foreman's credit as producer. They never spoke to each other again.
Each scene took only between one and three takes.
Gary Cooper became a close friend of Carl Foreman during filming, and they continued to correspond for the rest of Cooper's life.
Floyd Crosby, the film's cinematographer, is the father of David Crosby of Crosby Stills Nash & Young.
Floyd Crosby recounted a different version of the camera versus the train. He said the camera was placed in a hole dug between the tracks because they wanted the angle to be upward as the train stopped at the station. The train missed its mark and annihilated the camera. The film, however, survived. Crosby said he always thought they should have used the footage.
The name of the town in the film is Hadleyville, which was likely intended as an indirect reference to Mark Twain's "The Man That Corrupted Hadleyburg," a short story that has some thematic similarities to the film.
Gary Cooper was reluctant to do his big fight scene with Lloyd Bridges, as he was suffering from back pain at the time.
Frankie Laine had a million-selling record with the title song "High Noon (Do Not Forsake Me Oh My Darling)", though Tex Ritter's version of the song, heard on the soundtrack, has fared well over the years.
Sheb Wooley, who played Ben Miller, had recording success in 1958 with the novelty "The Purple People Eater"(#1 US pop).
In one scene, a posted bill for a production called "Mazeppa" is visible. Mazeppa was a literary character (written about by Lord Byron, among others) who was tied to the back of a horse by his townsmen/countrymen; the horse was then whipped and sent out into the country, carrying the helpless Mazeppa with it. In one version of the story, Mazeppa survives, joins his former enemies and returns with them to try to conquer his former town/country. This is somewhat reflected in the situation of Frank Miller--and even, perhaps, of Will Kane himself, who at the outset of the film is hastily sent off by his townsmen in a horse-drawn vehicle--with considerable reluctance on his part, before he decides to return (to little thanks from them).
This movie is rumored to play in real time. Several shots of clocks are interspersed throughout the film and they correspond with actual minutes ticking by.
Jack Elam was not originally in the cast..After viewing the first full cut, the filmmakers realized the climactic gunfight didn't work. They resumed production with Gary Cooper and new cast member Elam. Elam recalled, "I knew him [Cooper] very well . . . They also had some extras in the bar. We went back to the jail cell and did a few shots of me in the cell with Cooper walking around and seeing me in there snoring. And then they did a shot where he lets me out of jail, and I go into the bar, people are coming out because it's high noon. They did about a full minute of me in the bar doing my drunken clown act. I'm taking drinks and putting drinks under my arms and all that. They were going to cut back and forth between me and the gunfight. But then they turned the picture loose with the regular gunfight before they added our stuff, and it got rave reviews. so they never put that stuff in. The only part they put in was to establish who I was. And the only thing you see of me in the bar was when I was going in and everyone else was coming out. The credits were already written up when I went to work. They didn't bother to put [his name] in and that's why I didn't get the credit. But I was very happy because I got to work two days, and there was about a half a day with Cooper and me. And what a gentleman he was! There was about a day of me going into the bar and then of me just wandering around the bar. I understand there are some videocassettes of "High Noon"--but I don't think you can buy them in a store--where those scenes of mine are included in the outtakes, but I have never seen them. The last thing you see of me in the movie is when I'm going in the bar and the people are rushing out".
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The stable being burned to flush Gary Cooper happened during the last part of the movie, but the smoke from the stable fire appears in several earlier scenes.
The steady drum beat signifying confrontation in Frankie Laine's recording of "High Noon" was later employed by Roy Orbison in his 1961 signature hit, "Runnin' Scared".
Gary Cooper, "B" movie producer Robert L. Lippert and screenwriter Carl Foreman were set to go into a production company together, after the success of this film. John Wayne and Ward Bond ordered Cooper to back out of the deal, as HUAC was preparing to "blacklist" Foreman. Shortly afterward, Lippert was made "persona non grata" by the Screen Actors Guild, which destroyed his independent production company.
Hadleyville is the name of the town. It is never spoken but is clearly visible on the train station wall. Hadleyville was also the name of the town in Gung Ho (1986) but was placed in the northeast U.S. In the west, there is a real Hadleyville, in Oregon.
The character of Will Kane was based on screenwriter Carl Foreman.
Gary Cooper worked on the film for three weeks in September 1951.
Audiences in 1952 were disappointed with the revelation that Ian MacDonald was portraying Frank Miller. With his eventual appearance in the film being built up for more than an hour, fans were expecting a more well-known actor. Surveys taken at theaters revealed that Ward Bond, a frequent face in westerns, and Walter Brennan, a frequent co-star of Gary Cooper, were the top names the fans would have liked to see as Frank Miller. However, MacDonald's casting has become more appreciated as the film's legacy has grown.
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Will Kane was supposed to be about 30, although Gary Cooper was 50 when the film was made.
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Much of the film was shot in the gold rush town of Columbia, CA. Today it is a state park right by Sonora on Hwy. 49.
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Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.
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Between takes Gary Cooper would chat with the crew or snooze underneath a tree.
Gary Cooper was widely felt to be too old for his character.
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The wife of Sam, Harry Morgan's character, was named Mildred. In M*A*S*H (1972), Morgan's character, Col. Sherman Potter, also had a wife named Mildred.
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In the showdown scenes, western film trivia buffs may notice a store called "Boyd's Hardware", apparently a reference to actor William Boyd, who played the title role in the Hopalong Cassidy (1952) TV series.
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Gary Cooper took a cut in salary to help this get made, taking $50,000 plus a share in the profits instead of his customary $250,000.
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In the French-dubbed version, the song "High Noon" ("Si toi aussi tu m'abandonnes") is performed by Claude Dupuis.
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A little while after the Hadleyville railroad station arrival scene, the town's name again appears on the town banks's nameplate--it simply says "Hadleyville Bank".
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The number of close ups Fred Zinnemann gave Grace Kelly reportedly infuriated Katy Jurado, prompting her to accuse Zinnemann of being "half in love" with Kelly.
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The theme song to - "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 Cooper's most dramatic moments. When we finally had the picture ready for its first preview, which was to be in Inglewood, 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."
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Stanley Kramer and Carl Foreman had both read John Cunningham's short story "The Tin Star" in Harper's magazine and decided to option it for a joint film project. The two men decided to call the film High Noon, which had once been the temporary working title for Home of the Brave (1949), a previous film produced by Kramer with a screenplay by Foreman. But it was the latter, not Kramer, who actually negotiated the screen rights to Cunningham's short story. If Kramer had bought the story, the rights would have undoubtedly cost much more than the $25,000 that Foreman paid because Kramer was a well-known Hollywood producer among publishing circles.
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More than three decades after Grace Kelly and Lloyd Bridges appeared in this film, Bridges starred as her father in the biopic Grace Kelly (1983)
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Grace Kelly was unhappy with her performance, feeling that she was too stiff and wooden as Amy Kane. But Fred Zinnemann thought her inexperience was appropriate for the role that was rather limited in scope. As Zinnemann said, "(Kelly) at the time wasn't equipped to do very much...She was very wooden...which fitted perfectly, and her lack of experience and sort of gauche behavior was to me very touching - to see this prim Easterner in the wilds of the Burbank Columbia backlot - it worked very well."
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According to Carl Foreman, the scenes with Toby were shot at the end of production, as insurance in case the film seemed too claustrophobic.
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Stanley Kramer and Fred Zinnemann stated that they originally intended to photograph the film in color, but after some color sequences where shot, they switched to black and white for artistic reasons.
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The climax begins with a long pullback from Gary Cooper, walking the dusty streets of the desolate town. Fred Zinnemann achieved this by using a long crane that he borrowed from fellow director George Stevens. If you look closely you can see, in the upper frame, the nearby Warner Brothers studio lot. The same Western set on the Columbia Studios lot was used by Zinnemann the next year as a Hawaiian locale in From Here to Eternity (1953).
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Fred Zinnemann read the first draft of the script once he was offered the chance to direct. Immediately, he thought it "nothing short of a masterpiece - brilliant, exciting and novel in its approach."
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In preparation for the film's visual look, Fred Zinnemann and photographer Floyd Crosby studied the Civil War photographs by Mathew Brady.
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One of the reasons Gary Cooper took the part was because it represented what his father, a Montana state Supreme Court justice, had taught him: that law enforcement was everybody's job.
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Opening credits: The characters and events depicted in this photoplay are fictitious. Any similarity to persons, living or dead, is purely coincidental.
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