High Noon is a 1952 American Western film produced by Stanley Kramer from a screenplay by Carl Foreman, directed by Fred Zinnemann, and starring Gary Cooper. The plot, which occurs in real time, centers on a town marshal whose sense of duty is tested when he must decide to either face a gang of killers alone, or leave town with his new wife.
Theatrical release poster
|Directed by||Fred Zinnemann|
|Produced by||Stanley Kramer|
|Screenplay by||Carl Foreman|
|Based on||"The Tin Star"|
by John W. Cunningham
|Music by||Dimitri Tiomkin|
|Edited by||Elmo Williams|
Stanley Kramer Productions
|Distributed by||United Artists|
|Box office||$12 million|
Though mired in controversy at the time of its release due to its political themes, the film was nominated for seven Academy Awards and won four (Actor, Editing, Score and Song) as well as four Golden Globe Awards (Actor, Supporting Actress, Score, and Black and White Cinematography). The award-winning score was written by Russian-born composer Dimitri Tiomkin.
High Noon was selected by the Library of Congress as one of the first 25 films for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant" in 1989, the NFR's first year of existence. An iconic film whose story has been partly or completely repeated in later film productions, its ending in particular has inspired a next-to-endless number of later films, including but not just limited to westerns.
In Hadleyville, a small town in New Mexico Territory, Marshal Will Kane, newly married to Amy Fowler, prepares to retire after five years of service. The happy couple plan to depart immediately after their wedding so they can raise a family and open a store in another town. However, word arrives that Frank Miller, a vicious outlaw whom Kane sent to jail early in his career, has been pardoned for murder and will soon arrive on the noon train. Miller's gang — his younger brother Ben, and outlaws Jack Colby and Jim Pierce — await his arrival at the train station; Kane recalls that Miller, at his sentencing, swore to one day take revenge.
For Amy, a devout Quaker and pacifist, the solution is simple — leave town before Miller arrives, but Kane's sense of duty and honor are too strong for him to give up. "They're making me run", he tells her. "I've never run from anybody before." Besides, he says, Miller and his gang will hunt him down anyway, and at least in town he can fight on familiar territory. Amy gives her husband an ultimatum: She is leaving on the noon train, with or without him.
Kane visits all of his old friends and allies, but none can (or will) help: Judge Percy Mettrick, who sentenced Miller, resigns his office and flees on horseback, telling Kane that no one will protect either of them from Miller. Kane's chief deputy, Harvey Pell, who is bitter that Kane did not recommend him as his successor, says he will stand with Kane only if his old boss forces the town's selectmen to make him the new marshal. Kane rejects the quid pro quo, and Pell turns in his badge.
Kane visits the local saloon and church looking to recruit temporary deputies, only to encounter fear and hostility. Some townspeople, worried that a gunfight would damage the town's reputation and annoyed with Kane's strict adherence to the law (which drove out many lucrative businesses), insist that Miller be left alone. Some argue that Kane is incompetent and failed the town by not retaining enough deputies. Others are sympathetic to Miller and openly celebrate Kane's impending demise. When Kane goes to retrieve Sam Fuller, one of the deputies who quit, he hides and makes his wife lie and say he's not home. Jimmy, an alcoholic former deputy who lost an eye to a bullet, offers to help, but Kane sends him home, considering him too unreliable. Mayor Henderson asks Kane to just leave town and let the new marshal arriving tomorrow deal with Miller. Kane's predecessor, Martin Howe, has become a bitter, cynical man and says that his advanced arthritis means he can't fight. Herb Baker agrees to be deputized, but gives into his cowardice and quits when no one else volunteers. A final offer of aid comes from a fourteen-year-old boy; Kane admires his courage but turns him down.
While waiting at the hotel for the train, Amy meets the saloon owner, Helen Ramírez, who was once Miller's lover, then Kane's, and finally Pell's. Having lost faith in the town, she is selling her business and leaving to start over somewhere else. Amy understands why Helen is fleeing — out of fear of Miller and having split from Pell, who she regards as worthless — but Helen also tells Amy that if Kane were her man, she would not abandon him in his hour of need.
Overcome with jealousy and anger, Pell finds Kane at the local livery stable and steals a horse, insisting that Kane ride out of town while he still can. Their conversation becomes an argument, and then a fist-fight. Kane finally knocks his former deputy out cold and turns his back on him for good. Forlorn, Kane returns to his office and prepares his last will and testament as the clock slowly ticks down to noon. He lets the only remaining prisoner, a drunk named Charlie, go free before departing.
Kane then goes into the street to face Miller and his gang alone. In one of the most iconic shots in film history, the perspective elevates and expands to show Kane standing alone on a deserted street in a deserted town. The gunfight begins with Kane outdrawing and shooting Colby dead. As the train is about to leave the station, Amy hears the sound of gunfire, leaps off, and runs back to town as Helen watches. Kane is able to gun down Ben Miller before Frank sets fire to the barn he's hiding in and corners him in a saddle-maker's store. Amy takes Pell's handgun from the marshal's office and shoots Pierce in the back while he's reloading. Frank then breaks in, grabs Amy, and uses her as a human shield to force Kane out. Amy claws Miller's face and he pushes her to the ground; seizing the opportunity, Kane shoots him twice in the chest, killing him.
Kane helps his bride to her feet and they embrace. As the townspeople emerge and cluster around him, Kane glares at them with contempt, throws his marshal's star in the dirt, and rides off with Amy on their wagon.
- Gary Cooper as Marshal Will Kane
- Thomas Mitchell as Mayor Jonas Henderson
- Lloyd Bridges as Deputy Marshal Harvey Pell
- Katy Jurado as Helen Ramírez
- Grace Kelly as Amy Fowler Kane
- Otto Kruger as Judge Percy Mettrick
- Lon Chaney as Martin Howe, the former marshal
- Harry Morgan as Sam Fuller
- Ian MacDonald as Frank Miller
- Eve McVeagh as Mildred Fuller
- Morgan Farley as Dr. Mahin, minister
- Harry Shannon as Cooper
- Lee Van Cleef as Jack Colby
- Robert J. Wilke as Jim Pierce
- Sheb Wooley as Ben Miller
- James Millican as Herb Baker
- Howland Chamberlain as the hotel receptionist
- Tom London as Sam, Helen's attendant
- Cliff Clark as Ed Weaver, Helen's saloon tenant
- William Newell as Jimmy the Gimp
- Larry J. Blake as Gillis the saloon owner
- Lucien Prival as Joe the Bartender
- Jack Elam as Charlie, the town drunk
- John Doucette as Trumbull
- Tom Greenway as Ezra
- Dick Elliott as Kibbee
- Merrill McCormick as Fletcher
- Virginia Farmer as Mrs. Fletcher
- Virginia Christine as Mrs. Simpson
- Harry Harvey as Coy
- Paul Dubov as Scott
The creation and release of High Noon intersected with the second Red Scare and the Korean War. In 1951, during production of the film, Carl Foreman was called before the House Un-American Activities Committee (HUAC) during its investigation of "Communist propaganda and influence" in the Hollywood motion picture industry. Foreman had once been a member of the Communist party, but he declined to identify fellow members, or anyone he suspected of current membership. As a result, he was labeled an "uncooperative witness" by the committee, making him vulnerable to blacklisting. After his refusal to name names was made public, Foreman's production partner Stanley Kramer demanded an immediate dissolution of their partnership. As a signatory to the production loan, Foreman remained with the High Noon project; but before the film's release, he sold his partnership share to Kramer and moved to Britain, knowing that he would not find further work in the United States.
Kramer later asserted that he ended their partnership because Foreman had threatened to falsely name him to HUAC as a Communist. Foreman said that Kramer feared damage to his own career due to "guilt by association". Foreman was indeed blacklisted by the Hollywood studios due to the "uncooperative witness" label and additional pressure from Columbia Pictures president Harry Cohn, MPA president John Wayne, and Los Angeles Times gossip columnist Hedda Hopper.
According to Darkness at High Noon: The Carl Foreman Documents—a 2002 documentary based in part on a lengthy 1952 letter from Foreman to film critic Bosley Crowther—Foreman's role in the creation and production of High Noon has been unfairly downplayed over the years in favor of Kramer's. Foreman told Crowther that the film originated from a four-page plot outline he wrote that turned out to be very similar to a short story by John W. Cunningham called "The Tin Star". Foreman purchased the film rights to Cunningham's story and wrote the screenplay. By the time the documentary aired, most of the principals were dead, including Kramer, Foreman, Zinnemann, and Cooper. Victor Navasky, author of Naming Names, a definitive account of the Hollywood blacklist, told a reporter that, based on his interviews with Kramer's widow and others, the documentary seemed "one-sided, and the problem is it makes a villain out of Stanley Kramer, when it was more complicated than that".
Richard Fleischer later claimed he helped Carl Foreman develop the story of High Noon over eight weeks while driving to and from the set of The Clay Pigeon (1949) which they were making together. Fleischer says his RKO contract prevented him from directing High Noon.
John Wayne was originally offered the lead role in the film, but turned it down because he felt that Foreman's story was an obvious allegory against blacklisting, which he actively supported. Later, he told an interviewer that he would "never regret having helped run Foreman out of the country". Gary Cooper was Wayne's longtime friend, and shared his conservative political views; he had been a "friendly witness" before HUAC, but did not implicate anyone as a suspected Communist, and later became a vigorous opponent of blacklisting. Ironically, Cooper won an Academy Award for his performance, and since he was working in Europe at the time, asked Wayne to accept the Oscar on his behalf. Although Wayne's contempt for the film and refusal of its lead role were well known, he said, "I'm glad to see they're giving this to a man who is not only most deserving, but has conducted himself throughout the years in our business in a manner that we can all be proud of ... Now that I'm through being such a good sport ... I'm going back and find my business manager and agent ... and find out why I didn't get High Noon instead of Cooper ..."
After Wayne turned down the Will Kane role, Kramer offered it to Gregory Peck, who declined because he felt it was too similar to his role in The Gunfighter, the year before. He later said he considered it the biggest mistake of his career. Marlon Brando, Montgomery Clift, and Charlton Heston also declined the role.
Kramer saw Grace Kelly in an off-Broadway play and cast her as Kane's bride, despite Cooper and Kelly's substantial age disparity (50 and 21, respectively). Rumors of an affair between Cooper and Kelly during filming remain unsubstantiated. Kelly biographer Donald Spoto wrote that there was no evidence of a romance, aside from tabloid gossip. Biographer Gina McKinnon speculated that "there might well have been a roll or two in the hay bales", but cited no evidence, other than a remark by Kelly's sister Lizanne that Kelly was "infatuated" with Cooper.
Lee Van Cleef made his film debut in High Noon. Kramer first offered him the Harvey Pell role, after seeing him in a touring production of Mister Roberts, on the condition that he have his nose surgically altered to appear less menacing. Van Cleef refused, and was cast instead as Colby, the only role of his career without a single line of dialog.
High Noon was filmed in the late summer/early fall of 1951 in several locations in California. The opening scenes, under the credits, were shot at Iverson Movie Ranch near Los Angeles. A few town scenes were shot in Columbia State Historic Park, a preserved Gold Rush mining town near Sonora, but most of the street scenes were filmed on the Columbia Movie Ranch in Burbank. St. Joseph's Church in Tuolumne City was used for exterior shots of the Hadleyville church. The railroad was the old Sierra Railroad in Jamestown, a few miles south of Columbia, now known as Railtown 1897 State Historic Park, and often nicknamed "the movie railroad" due to its frequent use in films and television shows. The railroad station was built for the film alongside a water tower at Warnerville, about 15 miles to the southwest.
Cooper was reluctant to film the fight scene with Bridges due to ongoing problems with his back, but did, without the use of a stunt double. He wore no makeup, to emphasize his character's anguish and fear, which was probably intensified by pain from recent surgery to remove a bleeding ulcer.
The running time of the story almost precisely parallels the running time of the film — an effect heightened by frequent shots of clocks, to remind the characters (and the audience) that the villain will be arriving on the noon train.
The movie's theme song, "High Noon" (as it is credited in the film, otherwise also known by its opening lyric, "Do Not Forsake Me, Oh My Darling", became a major hit on the Country-Western charts for Tex Ritter, and later, a pop hit for Frankie Laine as well. Its popularity set a precedent for theme songs that were featured in many subsequent Western films. Composer Dimitri Tiomkin's score and song, with lyrics by Ned Washington, became popular for years afterwards and Tiomkin became in demand for future westerns in the 1950s like Gunfight at the O.K. Corral and Last Train From Gun Hill.
The film earned an estimated $3.4 million at the North American box office in 1952.
Upon its release, critics and audiences expecting chases, fights, spectacular scenery, and other common Western film elements were dismayed to find them largely replaced by emotional and moralistic dialogue until the climactic final scenes. Some critics scoffed at the unorthodox rescue of the hero by the heroine.[self-published source?] David Bishop argued that had Quaker Amy not helped her husband by shooting a man in the back, such inaction would have pulled pacifism "toward apollonian decadence". Alfred Hitchcock thought Kelly's performance was "rather mousy" and lacking in animation; only in later films, he said, did she show her true star quality.[self-published source?]
High Noon is generally considered an allegory against blacklisting and McCarthyism, but it gained respect in the conservative community as well. It has been cited as a favorite by several U.S. presidents. Dwight Eisenhower screened the film at the White House, and Bill Clinton hosted a record 17 White House screenings. "It's no accident that politicians see themselves as Gary Cooper in High Noon", Clinton said. "Not just politicians, but anyone who's forced to go against the popular will. Any time you're alone and you feel you're not getting the support you need, Cooper's Will Kane becomes the perfect metaphor." Ronald Reagan cited High Noon as his favorite film, due to the protagonist's strong commitment to duty and the law.
By contrast, John Wayne told an interviewer that he considered High Noon "the most un-American thing I've ever seen in my whole life", and later teamed with director Howard Hawks to make Rio Bravo in response. "I made Rio Bravo because I didn't like High Noon", Hawks explained. "Neither did Duke [Wayne]. I didn't think a good town marshal was going to run around town like a chicken with his head cut off asking everyone to help. And who saves him? His Quaker wife. That isn't my idea of a good Western."
Zinnemann responded, "I admire Hawks very much. I only wish he'd leave my films alone!" In a 1973 interview, he added, "I'm rather surprised at [Hawks' and Wayne's] thinking. Sheriffs are people and no two people are alike. The story of High Noon takes place in the Old West but it is really a story about a man's conflict of conscience. In this sense it is a cousin to A Man for All Seasons. In any event, respect for the Western hero has not been diminished by High Noon."
The film was criticized in the Soviet Union as "glorification of the individual".
In Chapter XXXV of The Virginian by Owen Wister, there is a description of an incident very similar to the central plot of High Noon. Trampas (a villain) calls out the Virginian, who has a new bride waiting whom he might lose if he goes ahead with the gunfight. High Noon has even been described as a "straight remake" of the 1929 film version of The Virginian in which Cooper also starred.
American Film Institute recognitionEdit
- 1998 AFI's 100 Years ... 100 Movies #33
- 2001 AFI's 100 Years ... 100 Thrills #20
- 2003 AFI's 100 Years ... 100 Heroes and Villains:
- Will Kane, hero #5
- 2004 AFI's 100 Years ... 100 Songs:
- 2005 AFI's 100 Years of Film Scores #10
- 2006 AFI's 100 Years ... 100 Cheers #27
- 2007 AFI's 100 Years ... 100 Movies (10th Anniversary Edition) #27
- 2008 AFI's 10 Top 10 #2 Western film
In 1989, 22-year-old Polish graphic designer Tomasz Sarnecki transformed Marian Stachurski's 1959 Polish variant of the High Noon poster into a Solidarity election poster for the first partially free elections in communist Poland. The poster, which was displayed all over Poland, shows Cooper armed with a folded ballot saying "Wybory" (i.e., elections) in his right hand while the Solidarity logo is pinned to his vest above the sheriff's badge. The message at the bottom of the poster reads: "W samo południe: 4 czerwca 1989", which translates to "High Noon: 4 June 1989."
As former Solidarity leader Lech Wałęsa wrote, in 2004,
Under the headline "At High Noon" runs the red Solidarity banner and the date—June 4, 1989—of the poll. It was a simple but effective gimmick that, at the time, was misunderstood by the Communists. They, in fact, tried to ridicule the freedom movement in Poland as an invention of the "Wild" West, especially the U.S. But the poster had the opposite impact: Cowboys in Western clothes had become a powerful symbol for Poles. Cowboys fight for justice, fight against evil, and fight for freedom, both physical and spiritual. Solidarity trounced the Communists in that election, paving the way for a democratic government in Poland. It is always so touching when people bring this poster up to me to autograph it. They have cherished it for so many years and it has become the emblem of the battle that we all fought together.
High Noon is referenced several times on the HBO drama series The Sopranos. Tony Soprano cites Gary Cooper's character as the archetype of what a man should be, mentally tough and stoic. He frequently laments, "Whatever happened to Gary Cooper?" and refers to Will Kane as the "strong, silent type". The iconic ending to the film is shown on a television during an extended dream sequence in the fifth-season episode "The Test Dream".
High Noon inspired the 2008 hip-hop song of the same name by rap artist Kinetics, in which High Noon is mentioned along with several other classic Western films, drawing comparisons between rap battles and Western-film street showdowns.
Sequels and remakesEdit
- A television sequel, High Noon, Part II: The Return of Will Kane, was produced in 1980, and aired on CBS in November of that year. Lee Majors and Katherine Cannon played the Cooper and Kelly roles. Elmore Leonard wrote the original screenplay.
- Outland is a 1981 British science fiction thriller film written and directed by Peter Hyams and starring Sean Connery, Peter Boyle, and Frances Sternhagen that was inspired by High Noon.
- In 2000, Stanley Kramer's widow Karen Sharpe Kramer produced a remake of High Noon as a TV movie for the cable channel TBS. The film starred Tom Skerritt as Will Kane, with Michael Madsen as Frank Miller.
- In 2016, Karen Kramer signed an agreement with Relativity Studios for a feature film remake of High Noon, a modernized version set in the present day at the US-Mexico border. That deal collapsed when Relativity declared bankruptcy the following year; but in 2018, Kramer announced that Classical Entertainment had purchased the rights to the project, which will be produced by Thomas Olaimey with writer-director David L. Hunt.
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- Zinnemann, Fred (May 8, 2018). Fred Zinnemann: Interviews. Univ. Press of Mississippi. ISBN 9781578066988. Retrieved May 8, 2018 – via Google Books.
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- Elmo Williams has said that Gerstad's editing was nominal and he apparently protested Gerstad's inclusion on the Academy Award at the time. See Williams, Elmo (2006), Elmo Williams: A Hollywood Memoir (McFarland), p. 86. ISBN 0-7864-2621-7.
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- Frankel, Glenn (2017). High Noon: The Hollywood Blacklist and the Making of an American Classic. Bloomsbury USA.
- Hamilton, Cynthia S. Western and Hard-Boiled Detective Fiction in America: From High Noon to Midnight (Springer, 1987).
- Slotkin, Richard (1992). "Killer Elite: The Cult of the Gunfighter, 1950–1953". Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America. New York: HarperPerennial. pp. 379–404. ISBN 0-06-097575-X.
- Rapf, Joanna E. "Myth, Ideology, and Feminism in High Noon." Journal of Popular Culture 23.4 (1990): 75+.
|Wikiquote has quotations related to: High Noon|
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- High Noon on IMDb
- High Noon at the TCM Movie Database
- High Noon at AllMovie
- High Noon at Rotten Tomatoes
- High Noon essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN 0826429777, pages 458-460 
- Ann Hornaday, "The 34 best political movies ever made" The Washington Post Jan. 23, 2020), ranked #27