
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... (Full plot summary below)
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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.
Leave your thoughts about High Noon.
| Washington PostStephen HunterA terrific piece of filmmaking. It's taut, believable as it unspools. It's charismatic, with a slow buildup of tension in near-real time that finally explodes into a blast of violence. |
| ReelViewsJames BerardinelliThe Western may be one of the few truly American art forms, and High Noon shows exactly how much potential it can embrace. |
| The New York TimesBosley CrowtherMeaningful in its implications, as well as loaded with interest and suspense, High Noon is a western to challenge Stagecoach for the all-time championship. (Review of Original Release) |
| Village VoiceMichael AtkinsonPossibly the most Rorschachian film of all time, a symbol-only text that effortlessly conforms to any political present, and finds a foothold in your social sphere whether you're a free radical or reactionary wing nut. |
| Chicago ReaderJonathan RosenbaumSome of the results ring false, but the memorable theme song and some equally memorable character acting (by Thomas Mitchell and Lon Chaney Jr. more than Lloyd Bridges and Katy Jurado) help things along. |
| User ReviewPrinceSevatarThe quintessential classic western. Timeless, perfectly paced and with a cast and score to match. |
| User ReviewTerrorpinGreat movie. Hardly a wasted minute in the whole film. A lesson that could be learnt by current directors !! Brilliant soundtrack by Dimitri Tiomkin and sung by Tex Ritter. Gary Cooper always portrayed a more genuine cowboy than anybody else bar none. |
| User ReviewEpicLadySpongeClassical western movies like High Noon should be what western movies are right now. There's not that much western movies, but I usually want to enjoy every single bit of this movie again since I loved a single bit of it. |
| User ReviewandrjetRighteouses’ Path is a Steep and Lonely Wait Hadleyville’s clocks hands beat the same time of our **** as a result of a coincidence between reality and narration: That’s the driving force of High Noon. Under a merciless, clear sky we are thrown on a Far West town, and we are guided into it by Dimitri Tiomkin’s leitmotif theme and a disreputable trio (Miller’s gang). Zinnemann’s studied and perfect frames describe the Western revenge’canon embodied in the silent action of Frank Miller’s mysterious remains. A name which frightens the whole Hadleyville and it also upsets Will Kane (Gary Cooper) so much that he renounces to go away with his new bride Amy (Grace Kelly) in order to obey to his duty: Defending the community in his last day as a sheriff even. And here is the duel between the law guardian Will Kane and the lawbreaker Frank Miller: On one side the heavy presence of a lonely man and on the other side the vague absence of a ruthless man. A duel that recreates itself upon the axes of time: It re-emerges from the past (Kane arrested Miller) and projects itself in the future (noon running on the railway). Everything tends to that moment in a spiral of increasingly tension while minutes pass identical to us and Kane; and we are literally suck in that dusty town where Will Kane is wandering in search of allies to face Miller and his gang. But as time goes by the more we understand Kane will be alone. Even Amy leaves him, because she is the virginal principle of nonviolence, and also she is waiting for that fatal noon (not definitely to stay but to get on board on the train). She’s going to move out just like the Mexican Helen Ramirez (Katy Jurado) is planning to do. Probably because she had been Miller’s woman, and has been Kane’s fiancé, and then she’s the girl of Kane’s vice Harvey Pell (a young Lloyd Bridges, well known for his role as McCroskey in Airplane!), a symbol of that pretentious youth which claims for a vested right power. Zinnemann is a punctilious surveyor who doesn’t leave anything to chance, who upholsters everything with symbolisms as bright as the West blinding light. So we encounter some archetypical figures: inhabitants’ cowardly selfishness not inclined to help he who has fought strenuously to bring back order in town; uncaring politics represented by Henderson, who takes Kane’s side except saying his presence threatens the town in fine; finally judges’ recklessness who have turned Miller’s life sentence into probation. Will Kane is all alone and he has to fight against everyone. He becomes the paradox of a society in which only weapons can guarantee compliance and civility. He is waiting alone for Frank Miller. And we can see him in a backside-dolly-frame walking through a disarming desert, lost in the dust of the inactive Hadleyville. Finally the whistle of the train reveal us Frank Miller’s traits (Ian MacDonald) but it’s not only the alert of an imminent fate: It’s also the sound of Amy’s love for Will. The sheriff is no longer alone to fight Miller’s gang: the justice puts back in order in the sequence of gunshots, a marriage does the same in front of Frank Miller’s corpse. Yet a society is definitely split and mirrored in the dull sparkle of a sheriff star tossed on the ground. And Tex Ritter’s Do Not Forsake Me takes us away from there, beyond the high noon of a man too much people have betrayed but one person has saved. |
| User ReviewwololoooHigh Noon plays out in near real time - realistically building tension at a steady pace. There's little action before the climax of the film, with a huge focus on character interaction, as sherfif Will Kane (played by the excellent Gary Cooper) struggles in vain to enlist the townspeople's help. After the seventy minute long buildup, I was hoping for a worthy shootout, and was rewarded with a tense and dramatic finale. High Noon is a true classic that holds up easily today, and is a telling reflection on the cowardice and fear that can strike us all. |