High Noon (1952) Poster



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.
Lee Van Cleef was originally hired to play Deputy Marshal 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.
In 1951, after twenty-five 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 ten box-office performers. In the following year he made a big comeback, at the age of fifty-one, with this film.
Screenwriter 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.
Gary Cooper and Grace Kelly had an affair that lasted for the duration of filming.
This film was intended as an allegory for the failure of the Hollywood community to stand up to the House Un-American Activities Committee during Senator Joseph McCarthy's Communist hunt.
Marshal Will Kane (Gary Cooper) was originally named Will Doane. The name was changed to Will Kane because Katy Jurado had difficulty pronouncing the name Will Doane.
Although the movie takes place between 10:35 a.m. and 12:15 p.m. slightly longer than the one hour and twenty-four-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 sixty 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.
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.
The movie is often described as "a western for people who don't like westerns".
Film debut of Lee Van Cleef, who does not have a word of dialogue.
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 that 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.
There was some question as to the casting of Gary Cooper, since he was fifty and Grace Kelly, playing his wife, was only twenty-one, despite this being fairly commonplace for the timeframe of the movie.
Its loss in the Best Picture category to.The Greatest Show on Earth (1952), directed 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 appease Senator Joseph McCarthy, since DeMille was one of his strongest supporters.
In the fight scene involving Marshal Will Kane (Gary Cooper) and Deputy Marshal Harvey Pell (Lloyd Bridges), Lloyd's son, Beau, 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 unwell and in pain, but was gracious and understanding, according to Lloyd.
Director Fred Zinnemann's meticulous planning enabled him to make four hundred shots in only four weeks.
Amongst 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 Forsake Me", whose lyrics are from the point of view of the hero appealing to his new wife, Amy, to stay with him.
Henry Fonda missed out on the film because he had been "graylisted" in the industry due to his political beliefs.
Gary Cooper had a bleeding ulcer at the time of filming.
Gary Cooper was responsible for getting soon-to-be-graylisted actor Lloyd Bridges the role of Harvey Pell.
Grace Kelly was cast after Producer Stanley Kramer saw her in an off-Broadway play. He arranged a meeting with her and signed her on the spot.
"Do Not Forsake Me, Oh, My Darlin'" was the first Oscar-winning song from a non-musical film.
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.
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 several years prior, and was broadcast several times over the cable outlets of Ted Turner, who was a strong advocate of the process.
Ranked number two on the American Film Institute's list of the ten greatest films in the genre "Western" in June 2008.
Little to no make-up was used on Gary Cooper's face. The thinking was that the lines on his face would emphasize how worried his character was.
Though he was supposed to be the older man, at forty-five, Lon Chaney, Jr. was five years younger than Gary Cooper.
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.
The film was set in Hadleyville, population six hundred fifty, in the New Mexico Territory, on a hot summer Sunday. The thirty-seven-star flag the judge removes as he prepares to flee, shows that the time frame is sometime between Nebraska's admission as the thirty-seventh state on March 1, 1867 and Colorado's admission as the thirty-eighth state on August 1, 1876.
Gary Cooper didn't use a stunt double in the fight with Lloyd Bridges.
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.
Stanley Kramer removed Carl Foreman's credit as a producer. They never spoke to each other again.
Since Gary Cooper was fifty, thirty-eight-year-old Lloyd Bridges was cast as twenty-something Deputy Marshal Harvey Pell.
Bill Clinton's all-time favorite film. He watched it seventeen times during his two terms as President of the United States.
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.
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 response.
In 2007 the American Film Institute ranked this as the number twenty-seven Greatest Movie of All Time.
It took twenty-eight days to shoot the film, after ten days of rehearsal.
Katy Jurado says, "One year without seeing you" in Spanish, to which Cooper replies, "Yes, I know."
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 Marshal'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."
Each scene took only between one and three takes.
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.
Cinematographer Floyd Crosby was the father of David Crosby of Crosby Stills Nash & Young.
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.
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.
Gary Cooper became a close friend of Producer Carl Foreman during filming, and they continued to correspond for the rest of Cooper's life.
The stable being burned to flush Marshal Will Kane (Gary Cooper) happened during the last part of the movie, but the smoke from the stable fire appeared in several earlier scenes, for example, when Cooper approaches the church to ask those inside for help, you can see a very large column of black smoke in the background just to the right of the church.
Gary Cooper took a cut in salary to help this get made, taking fifty thousand dollars plus a share in the profits instead of his customary two hundred fifty thousand dollars.
The steady drum beat signifying confrontation in Frankie Laine's recording of "High Noon" was later employed by Roy Orbison in his 1961 hit, "Running Scared".
In one scene, a posted bill for a production called "Mazeppa" is visible. Mazeppa was a literary character (written about by Lord Byron, amongst others) who was tied to the back of a horse by his townsmen and 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 survived, joined his former enemies and returned with them to try to conquer his former town and country. This is somewhat reflected in the situation of Frank Miller, and even, perhaps, of Will Kane, 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).
The character of Will Kane was based on Carl Foreman.
Gary Cooper was reluctant to do his big fight scene with Lloyd Bridges, as he was suffering from back pain at the time.
Marshal Will Kane was supposed to be about thirty, although Gary Cooper was fifty when the film was made.
Gary Cooper worked on the film for three weeks in September 1951.
Sheb Wooley (Ben Miller) had recording success in 1958 with the novelty "The Purple People Eater" (number one on the U.S. pop charts).
The theme song, "Do Not Forsake Me, Oh My Darlin'", was originally going to be used throughout the movie. 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."
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.
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 (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 my 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."
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 deemed "persona non grata" by the Screen Actors Guild, which destroyed his independent production company.
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 as a Hawaiian locale in From Here to Eternity (1953).
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.
Much of the film was shot in the gold rush town of Columbia, California. Today it is a state park right by Sonora on California Highway 49.
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.
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.
Carl Foreman had already worked on this screenplay when he and Stanley Kramer both read John Cunningham's short story "The Tin Star" in Harper's Magazine. Since it was so similar to the script, they decided to option it to avoid any charges of plagiarism. The two 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 and written by Foreman. However, it was Foreman, 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 twenty-five thousand dollars Foreman paid, because publishers would have been well aware of Kramer's reputation as a successful producer.
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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. However, Fred Zinnemann thought her inexperience was appropriate for the role, which was rather limited in scope. As Zinnemann said, "(Kelly) at the time wasn't equipped to do very much. She was very wooden, which fit 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."
In the showdown scenes, western film trivia buffs may notice a store called "Boyd's Hardware", a reference to William Boyd, who played the title role in the Hopalong Cassidy (1952) television series.
Prior to the movie's release, Gary Cooper was widely felt to be too old for his character. The movie's popularity, and a Best Actor Academy Award, clearly proved them wrong.
There were only two characters in town who actually offered to help Kane to fight: Jimmy, the drunk with an eye patch (William Newell), and Johnny, a young boy (Ralph Reed).
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Former U.S. Presidents Dwight D. Eisenhower, Ronald Reagan, and Bill Clinton cited this as their favorite film of all time.
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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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Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.
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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Included among the American Film Institute's 1998 list of the Top 100 Greatest American Movies.
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Between takes, Gary Cooper would chat with the crew or snooze underneath a tree.
As inspiration for the film's look, Fred Zinnemann and Cinematographer Floyd Crosby studied the Civil War photographs of Mathew Brady.
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A little while after the Hadleyville railroad station arrival scene, the town's name again appears on the town bank's nameplate. It simply says "Hadleyville Bank".
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The wife of Sam (Harry Morgan) was named Mildred. On M*A*S*H (1972), Colonel Sherman Potter (Harry Morgan) also had a wife named Mildred.
In the French-dubbed version, the song "High Noon" ("Si toi aussi tu m'abandonnes") is performed by Claude Dupuis.
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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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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