A town Marshal, despite the disagreements of his newlywed bride and the townspeople around him, must face a gang of deadly killers alone at high noon when the gang leader, an outlaw he sent up years ago, arrives on the noon train.
On the day he gets married and hangs up his badge, Marshal 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
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. See more »
Although the 37-star flag suggests the setting date is within the 1867-76 frame, the date on the large boarding house at the end of the street as Amy and Helen are taking the buckboard out of town is "1888". See more »
[Ben Miller, Jim Pearce and Jack Colby passes by the saloon, as Gillis is attending to his customer. The clock on the wall shows 10:33 AM]
Man, it sure is hot.
Hot? You call this hot?
[the Barber looks up and notices the three horsemen offscreen. Walks to the front door]
Well, I'll be...
What's the matter?
I thought I saw Ben Miller!
Oh, he's down in Texas somewhere.
[the Barber walks back to tend to the customer]
[...] See more »
Gary Cooper's greatest role, at 50, as the newly-married sheriff, Will Kane, left to fend for himself against his returning enemies, abandoned by the town he remains loyal to, and played out in real time through its 90 minute running time.
Ably supported by Grace Kelly as his pacifist Quaker wife, who discovers love and right triumphs over long-held preconceptions; Katy Jurado as Kane's former mistress, a fiery Latino type; and Lloyd Bridges as the feisty deputy; Cooper runs away with the acting honours. The theme tune by Tex Ritter is also worthy of note.
High Noon' works because of its tightly written script, its cracking pace and crackling tension. I've seen the film many times and always see something different to notice and admire; still, I'd love to see it again for the first time and not know the twists and turns, not know how it ends. A fabulous film one of the best.
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