Le train sifflera trois fois

This is the definitive Western. There are other excellent Westerns of course ("The Unforgiven," "Pat Garrett and Billy the Kid," "The Searchers," "My Darling Clementine," and "The Man Who Shot Liberty Valance" come immediately to mind), but none tops this one. Even though the difference in age between Gary Cooper and Grace Kelley makes the thought of their marriage seem a little kinky, it's easy to buy into the story. Katy Jurado is sexy, Lloyd Bridges is callow, and the townspeople mean well, but when push comes to shove, they reveal their cowardice. (If you remember the scene in "Blazing Saddles" in which Van Johnson says, "Howard Johnson is right," you'll almost certainly laugh at an inappropriate moment in "High Noon." ) "High Noon" is a textbook example of the storyteller's art. The drama begins with the opening credits and doesn't let up until everyone's true character has been laid bare. This one is suspenseful and thrilling, and I find more to admire with every viewing.

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.

High Noon is for me one of the two finest Westerns ever made (the other is Shane). It is an elemental commentary on the best and worst of America, the best and worst of mankind. It is Greek tragedy and Shakespeare brought to the Old West in a grandly simple form. Gary Cooper is superb and the supporting cast is outstanding as well (although I wish Grace Kelley would have spoken without the artificial sounding school-girl accent, something which marred so many of her otherwise fine performances). I do not read into the film a commentary on events of the 1950s, specifically the ongoing investigations by Congress of left-wing activities. High Noon transcends such specifics as this. I know John Wayne called the film un-American but I must disagree. I have great respect for the Duke but think he got this one wrong. Weak, timid people are everywhere and the strong are often few and far between. Goodness and right often prevail because a small minority insure that they do. All benefit from the courage of the lonely hero whether they realize it or not. Hign Noon is a testimony to this truth.

...a quote from Men in Black that applies here if it ever applied anywhere.

Gary Cooper plays marshal Will Kaine, who turns in his star immediately after he marries Amy, a Quaker girl (Grace Kelly). Upsetting the celebration is the news that killer Frank Miller is due on the noon train and his first order of business is to kill Kaine, a man who Kaine helped send to prison five years ago and swore blood vengeance at the time. The three members of his gang are waiting at the depot. Miller escaped hanging, got a long sentence, and some knuckleheads on the parole board have turned him loose. At first Kaine is with the popular sentiment - Run!. But then he realizes that Miller will lay waste to the town if he isn't there - the new marshal isn't due in until the next day - plus Miller will hunt him down wherever he is - Kaine will always be looking over his shoulder.

He goes around looking for deputies to help him make his stand. Oh, everybody talks about what a good job Kaine did, but nobody stands up for him. They have all kinds of excuses. That a shootout will cause investors from the east and north to think their town is just another shoot em up town, that if Will isn't there Miller will just leave etc. In the end the result is NOBODY stood by him in his hour of need, in spite of the fact that many in the town owed their lives and fortunes to Kaine cleaning up the town.

The best device in this movie - added after a preview called the film dull - is the constant showing of the clock, ticking away the precious minutes Kaine has. And he is a human hero - because you can tell dying is on his mind, running is on his mind, but in the end he stays to face his enemies. The scene towards the end, with him standing in the middle of a dusty abandoned main street as the camera pulls back just to show how alone Kaine is in this battle is iconic.

Where is his wife you might ask? With a ticket in hand to get on the next train out. At least Grace Kelly's character has a reason for her pacifism - her newly found Quaker faith. What she fails to realize is that unless you are willing to be a slave you have to be strong enough that you can afford pacifism.

There are some great performances here. There is Lon Chaney as the old sheriff who Will goes to for help. The old sheriff has the best excuse of all - he is just too old for this. Will would be looking after him instead of himself. Then there is Lloyd Bridges as one of the most unlikeable characters in film history. He's Kane's ex-deputy Harvey Pell and he is a weasel without the cuteness factor. He is tired of living in Kaine's shadow, just a little jealous that Kaine had Harvey's girl before he had her, very resentful that Kaine would not recommend him to be the new marshal. But here is his chance - if Kaine runs, Kaine is no better than he is. That is why he beats Will up trying to put him on a horse towards the end of the film. He doesn't want Will to live, he wants him to run, to somehow prove he is a coward.

And you have to love the townspeople thinking that this will just "all go away" if everybody hides. The first act of the foursome of gunslingers when they hit town is not to kill Kaine, but to smash a store window and take a woman's bonnet that one of the killers fancies - an act of theft. They'll be stealing more than stuff by nightfall if nobody stops them.

Highly recommended.

For me, Will Kane embodies the American ideal of a hero: a man who stands up for what is right, even when nobody else does, even when the temptation is strong to stick the head in the sand.

Will Kane explains his outlook at the outset: there is no point in running away if that means spending the rest of your life watching your back. His best chance is to face his enemies on his home ground. At this point, he still thinks that honest folk will stand by him. The rest of the movie is a study in character: will he stand his ground when his entire world crumbles around him?

It is puzzling that Howard Hawks, John Wayne, and others thought of High Noon as un-American. I am not sure if this is because of the allegory of the McCarthy era; or the people of an American town collectively sticking their heads in the sand; or the Marshal throwing his badge to the ground in the last scene.

Clearly, the movie does not criticize McCarthyism itself. (It has nothing to say about communism, either.) It appears to criticize the people who did not stand up to McCarthy and the HUAAC, but it can equally well be seen as a comment on the appeasers who did not stand up to fascism or communism.

In any case, not too much must be made of the anti-appeasement angle, because the townsfolk is not the primary focus of the movie: the focus is on Will Kane. When the townsfolk behave like cowards, that gives Will Kane a chance to prove that he is a hero. If the town had stood by the Marshal, we would have seen, at best, an excellent Western like Rio Bravo, but not a masterpiece like High Noon. For Will Kane to be a hero, it is necessary that he stands alone.

No statement can convey the dramatic impact of Will Kane throwing his badge away, but it is worth discussing what this gesture means. For me, it means that the town and the badge were not worth fighting for. Will Kane fought for principle: he fought because he does not run away.