High Noon

A pure genre film in which everything runs like clockwork. It takes place virtually in real time between two key events in the life of Sheriff Kane (a great, mature Cooper). While he is getting married (to porcelain doll Grace Kelly) shortly before noon and putting away his tin star, his arch-nemesis is due to arrive by train at noon and challenge him to a duel. The whole town refuses to take the risk, and Kane faces his arch-enemy at high noon... It is based on the 1947 magazine short story "The Tin Star." (31/05/2020)

Zinnemann's approach to the classic western subject matter differs in many ways from the classic scheme of the intrepid hero standing steadfast against the odds. His viewpoint is (like Leone's) strongly European, and thus Gary Cooper spends most of the film trying to get help to settle the score with the killers, rather than polishing his gun and waiting for the climax. Yet this gives the plot a much more human and believable dimension, solidly countered by the storyline with the newlywed played by the amazing Grace Kelly. The flawlessly written characters have clear reasons for their behavior. Especially the gradual falling away of "good old friends" (family, fear for their lives, cowardice) is portrayed wonderfully, and when you add to that the nervous countdown of less than an hour, it must be clear to everyone that this film is definitely one of the best! (12/09/2006)

“Waiting for Godot” in (anti)western guise, which despite my fondness for this genre never appealed to me. Gary Cooper may be excellent, but out of this parade of "weak" characters, I can only trust Chaney to act. (17/08/2008)

Many classic westerns have long since fallen into oblivion, but Zinnemann's film can be considered a classic that rightfully belongs in the golden treasury of world cinema. This western transcends its genre boundaries and moves more into the realm of psychological drama. It is a study of human nature, fear, courage, and responsibility. A dangerous criminal is released from prison, and his comrades rejoice and expect the return of old orders, the rule of violence and intimidation. The "decent" citizens are afraid and some consider leaving. Only one inhabitant of the town is prepared to defend himself and tries to awaken a collective spirit of resistance in others. In the film, you will experience far more dialogue than panoramic shots of the wilderness or bloody shootouts. Some fans of westerns have a problem with this film precisely because of the absence of the usual genre clichés, but I consider it a remarkable example of film craftsmanship. High Noon is interesting in that it takes place in real time, and as you watch the moving hands on the clock, the tension escalates, and everything is permeated with a sense of inevitability. The direction is interesting in other ways as well. Zinnemann wanted the film to look like a classic newsreel at first glance, with grainy images and inferior lighting. Again, there are those who find this spoils their idea of a movie spectacle, but I have no hesitation in awarding it an overall impression of 85%, with the caveat that I am not a fan of westerns. Otherwise, I would give it a fifth star. (18/07/2017)

Far more than a western, it is a successful psychological portrayal of people's behavior in a small town, replete with ingratitude and pettiness dominating the world, amidst which individuals with a solid and polished character shine like diamonds when the right opportunity arises. The film strongly reveals its high-quality literary source, and its execution carries more of a theatrical spirit, which is not a criticism in any way. On the contrary, the western background is perfectly used here for the unity of time, place, and plot, and the span of one relentlessly shrinking hour is still long enough for all involved to learn the essential about themselves and others and resolve all the old dilemmas, uncertainties, and doubts once and for all – giving it precisely that crucial philosophical dimension of life. I was slightly bothered by a certain stiffness or schematism in the final act, which didn't quite convincingly, dirty and vividly enough for me. But I will happily overlook that anytime. (12/08/2023)

One of the most iconic classic westerns is, unfortunately for me, an example of how cinematic narrative formulas and techniques have evolved in the ensuing years, thanks largely to Leone's "spaghetti" work. I appreciate the idea and the straightforwardness of the plot, which communicates the desired sense of hopelessness and confusion of the main character, but the story is so naive and, given the machine-like villain behaviour of the vast majority of the secondary characters, also unrealistic, that it would have to literally knock me off my feet with its form and atmosphere to stand up qualitatively. At the time of its release, it would probably have succeeded, but today it has lost ground and is limping along. (18/09/2016)

Real-time and a gunfight. Actually, that's pretty much it. The basis of the recipe for success. Of course, it's not that simple, but the film is a beautiful example of how a relatively simple idea, combined with people and their actions, can be compelling. If Gary Cooper hadn't been so honest, he should have shot everyone in the end. (11/11/2014)