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One of the greatest Westerns ever made gets the deluxe treatment on this superior disc from Republic Home Video's Silver Screen Classics line of special-edition DVDs. Written by Carl Foreman (who was later blacklisted during the anticommunist hearings of the '50s) and superbly directed by Fred Zinnemann, this 1952 classic stars Gary Cooper as just-married lawman Will Kane, who is about to retire as a small-town sheriff and begin a new life with his bride (Grace Kelly) when he learns that gunslinger Frank Miller (Ian MacDonald) is due to arrive at high noon to settle an old score. Kane seeks assistance from deputies and townsfolk, but soon realizes he'll have to stand alone in his showdown with Miller and his henchmen. Innovative for its time, the suspenseful story unfolds in approximate real time (from 10:40?a.m. to high noon in an 84-minute film), and many interpreted Foreman's drama as an allegorical reflection of apathy and passive acceptance of Senator Joseph McCarthy's anticommunist campaign. Political underpinnings aside, this remains a milestone of its genre (often referred to as the first "adult" Western), and Cooper is flawless in his Oscar-winning role. The first-rate DVD gives this landmark film all the respect it deserves, beginning with a digitally remastered transfer from the original film negative. Additional features include the exclusive documentary The Making of High Noon, hosted by film historian Leonard Maltin and featuring interviews with the late Lloyd Bridges (who played Cooper's rival ex-deputy), director Fred Zinnemann, and producer Stanley Kramer. Also included is the original theatrical trailer and a special chapter stop highlighting the Oscar-winning song "Do Not Forsake Me." Offered in English and dubbed French and Spanish, with English closed-captioning or Spanish and French subtitles. --Jeff Shannon
- High Noon
Well written, well acted, and well done. This time Gary Cooper rides into the sunset with Grace Kelly. ...more info
High Noon (Fred Zinnemann, 1952)
Note: here be spoilers. On the off chance that you haven't seen or heard anything about the movie, you may want to skip this review.
There's a scene in High Noon that just makes it for me. It's pretty close to the end, right at the point where Will Kane (Gary Cooper) has realized that no one in town is going to help him fight Frank Miller (Ian MacDonald) and his gang, and resigned to his fate, he leaves his office and heads up to the depot to confront Miller. As he walks down the street, the camera pulls away from him to an aerial view, but there's nothing smooth about the pullback; it's jerky and swerving and jolting, as if the whole town is about to fall down around Kane's ears, or as if to simulate what must be going on in Kane's stomach, or both. How often do you see that in a movie nowadays? (,he says just after writing reviews for No Country for Old Men and The Dreamers.) It's not so much the symbolism of the thing as the fact that it seems so natural, as if someone on the set said, "hey, we've got a pullback here, wouldn't it be neat if we did this with it...?".
It's probably inexcusable for someone who fancies himself a media critic to have seen as few Gary Cooper movies as I have in my lifetime, but after finally seeing High Noon, I plan to watch a lot more of them. Cooper is as laconic as he is iconic, the plain-spoken good guy who realizes he's got a job to do whether anyone wants to help him with it or not. He comes off as a bit dour, which makes me wonder why his new Quaker wife Amy (Grace Kelly) would have married him in the first place, but that's a minor thing. Kane's demeanor sets him apart not only from the bad guys (and a fine batch they were-- MacDonald is backed up by country singer Sheb Wooley, prolific character actor Robert Wilke, and a young lee van Cleef), but from the townsfolk; not a coincidence, one thinks, especially given the film's oft-noted red scare subtext (the subtext that caused John Wayne to remark that High Noon was the most anti-American movie ever made).
Honestly, now that I've opened that door, I can't see the red scare subtext as valid to criticism of the movie any more. It was half a century ago, and we all realize it was idiotic (at least, I hope we do). Ignore it when watching the movie now. There are so many other reasons to like the movie. Zinnemann's casting was dead-on for almost every role, even in the places where he ended up using his fifth or sixth choice for a role (Gary Cooper was far from Zinnemann's first choice for Kane, for example). Cooper and Kelly are fantastic, and their odd lack of chemistry is offset by the fact that the two have very few scenes together. The rest of the townsfolk are uniformly excellent, as is to be expected when one's talent pool contains such notables as Harry Morgan, Lon Chaney Jr., Lloyd Bridges, and Katy Jurado. Zinnemann's direction is excellent, coupled with Floyd Crosby's groundbreaking cinematography, which is played up quite nicely with Elmo Williams' editing (Williams is responsible for the real-time aspect of the film, which was originally meant to run a good deal longer; Crosby was the guy who figured out how to make the film look so sere. No, you're not watching a faded print). A number of very talented folks worked on this movie, and they all brought their A games. One for the ages. ****
- Five tin stars for a great movie
Ignore all the hokum about this movie being an allegory against McCarthyism - it's much broader than that. It's about integrity, standing against evil, responsibility, and being a real hero. That this story is a Western is almost incidental. I consider it to be a classic moral story more than a classic Western, although it functions perfectly well as a Western. Marshal Will Kane certainly does not want to die or fight alone. He considers running away, more from a desire to avoid unnecessary trouble than from cowardice - though he is afraid - but he realizes that running is not a solution in this case. Kane doesn't overcome fear; he faces it. Each man in town has his own reasons for not helping Kane, displaying various aspects of passivity, apathy, fear, greed, and rationalization. The acting, setting, and dialogue are sparse but brilliant. The music helps to set the right emotional tone, and the theme song is especially evocative. And boy do I love a film shot in black and white! ...more info
- Sheriff Kane and Helen Ramirez
When he goes to her room to warn her about Frank Miller's return they have this short exchange in Spanish which was very hard for me to make out even when I played it back several times. I felt it must be relevant since it was included and even more so now that I have the translation:
"Un a?o sin verte" (A year without seeing you)
"Si, lo se" (Yes, I know)...more info
"High Noon" is probably one of the most moving movies, along with "Shane" and "Broken Arrow" that I've ever seen. Besides Gary Cooper's very strong resemblance to my beloved grandfather on my mother's side, he was definitely one of the most talented actors on the screen of his time. I love this film. I will always cherish it. Five stars!
Sandra E. Waldron is the author of "Fusion: Sizzle" and numerous shorts in the Amazon Shorts program. ...more info
- HIGH NOON, 1 OF HOLLYWOODS GREATEST WESTERNS
HIGH NOON, STARRING GRACE KELLY AND GAR COOPER IS A WESTERN CLASSIC THAT LIKE CASABLANCA; WILL REMAIN 1 OF THE ALL TIME GREAT MOVIES OF HOLLYWOOD. THIS REMASTERED COLLECTORS EDITION; IS AS GOOD AS IT WAS; THE FIRST TIME I REMEMBER SEEING IT. ITS 1 OF THOSE WESTERN CLASSICS, YOU WANT TO WATCH OVER AND OVER. ...more info
- 3 stars out of 4
The Bottom Line:
A movie that has been romanticized and over-analysed way out of proportion (if it's a McCarthyist parable, than pray tell, which character represents McCarthy?), High Noon is a solid western with a good performance by Gary Cooper, but it's neither the second coming nor one of the best movies ever made...more info
- tic toc... tic toc...
If you're only used to more modern westerns, this one will kill you. It's is almost shot in real time (meaning that they show the clock constantly, and it's as slow as the movie). Sadly predictable by today's standards.
The notion is unique and brilliant, but the movie isn't entertaining. It's borderline annoying.
I'm way off base compared to most reviews here, which is why I started out stating "If you're only used to modern westerns..."
- High Noon vs. Rio Bravo
High Noon vs. Rio Bravo?
Should we think of it as a competition when Rio Bravo was made as a protest against the way Will Kane had to go around the town looking for special deputies only to get turned down?
The behind-the-scenes talk is that both John Wayne and director Howard Hawks had contempt for High Noon and the way its protagonist went looking for help to fight the bad guys. Guess these two guys never heard of the Second Amendment or even of special deputies or posses!
Actually as stand-alone stories both movies have messages worth learning. One should see true life experiences in both of them. In High Noon the town's people all had excuses for why helping out their marshal wasn't good for them at the moment. Good thing the men who fought for us in the Revolutionary War didn't refuse to join the Army because they "got a wife and kids".
And make no mistake, the U.S. Founding Fathers included the Second Amendment in the base of our political system as a way for the citizenry to remain armed in order to oppose tyranny. Now it may be true that they were worried more about tyranny from oppressive governments both foreign and domestic, but just how good would the people of Kane's town be against tyranny on a national scale when they couldn't even be bothered to stand up against it in their own back yard?
In High Noon Will Kane eventually finds help from his own wife who comes to see that she owes more loyalty to her vows to her husband than to some goofy religious belief that says that to fight evil you lie down in front of it and spread your legs -- figuratively, if not literally.
In Rio Bravo the sheriff says upholding the law is the job of professionals, then what does he do? Like his friend says, he employs a drunk and a cripple, and then decides he needs more help and looks to a teenager and deputizes the kid. LOL Said cripple, by the way, who so unprofessionally shoots and nearly blows the head off of a fellow deputy and can't even admit it when he made a mistake. ("How was I supposed to know the Dude was gonna go and git hisself duded up? Huh?... HUH???") And then when Feathers tries to sit guard in the lobby of the hotel and falls asleep Chance treats her tenderly for her effort and carries her off to bed. Looks like Wayne and Hawks couldn't make up their minds just what it was they believed! Sort of schizoid, IMO.
Too bad for them, but no reason for us to not take away some important lessons from both of these movies, one of which is that it seems it is never comfortable or convenient nor can we expect the timing to be "right" when we are called upon to stand up against evil; and having one's personal demons going on inside is no excuse to bow out of the fray, turn inward, and forsake the common good....more info
- High Noon Gary Cooper and Grace Kelly
This is an excellent film made in the 50's starring Gary Cooper and Grace Kelly. This is the collector's edition which is in my opinion much more enjoyable because it goes behind the scenes> Gary Cooper's daughter is the host along with the Director's view. The film is very good quality black and white and the story line is excellent. The music "Do not forsake me Oh My Darling" is sung by Tex Ritter. Beautiful movie all the way....more info
- A GENUINE CLASSIC!!
HIGH NOON (1952-NR) stars Gary Cooper, Grace Kelly (her first role) and Lloyd Bridges and is arguably the best western of all time. Nominated for 7 Academy Awards and winner of 4. Also, AFI Top 100 of all time. Will Kane (Gary Cooper) has just said his wedding vows with his new bride (Grace Kelly) and is about to turn in his badge as sheriff and leave the town he had singlehandedly cleaned up, with his pacifist Quaker wife. As they're about to ride out of town in their buckboard limo, three tough hombres ride into town and let it be known that Frank Miller is arriving on the noon train-it's now 10:40 AM. Will leaves but just out of town turns around and comes back. He can't leave now. He's responsible for arresting Frank Miller and sending him up to prison. He was supposed to be executed but instead he's paroled and coming back to get even. Will believes he can round up a posse to defend the town during the next hour as the film progresses in real time. The plot is simple but the acting is terrific and the scenes are tight and tense as he tries to recruit help as well as keep his new bride. All this leads up to the showdown at HIGH NOON and the final, climactic scene-a great one. More than just a good western, there are some underlying themes of courage (and lack thereof) as well as the issue of pacificism and 'standing by your man'. This is the role that got Grace Kelly's career on track. One interesting note-on Netflix there's a commentary on issues for parents to judge whether a film is suited for children and what age. Under the category of SOCIAL BEHAVIOR it says "Women are exceptionally intelligent and respected". Apparently that was not the norm for films back then. Everyone should see this at least once. Recommended for ages 10 and over. WWW.LUSREVIEWS.BLOGSPOT.COM
- Good, but not great
I have been on a western "kick" over the past few months, and have watched dozens of films from the '50s and '60s. This film is the start of a genre ("adult western") in its own right, so is certainly a trailblazer, but falls woefully short of many that came after it. It would probably have been more suited for a 2-hour TV show than for the big screen.
The plot is reasonably good, but the acting is shallow (there are many who could have done better than Cooper), and the bad guys could have been played better by a dozen or more others. The score is bad (if I hear that godawful theme song again...). The cinematography is mediocre for a Western. And, the political undertones are offensive to me; can't people keep politics out of ANYTHING?
I will not add this one to my library. Instead, it will be full of John Ford, Sam Peckinpah, Sergio Leone and others who I felt captured the essence of the romanticized West....more info
- The King and future Princess
Gary Cooper was king of western films and Grace Kelly was noticed by the Prince of Monaco enough to be take her as his Princess. ...more info
- High Noon still does not forsake you, oh my darlings...
Some "classic" movies become such icons that everyone knows they've seen them but never watches them again because "everybody's seen that already." If "High Noon" is that kind of film for you OR if you've never managed to see it because everybody AROUND you has that impression, here is a great way to reaquaint yourself with a classic that is not only a barrier-breaking western, it's also a film classic regardless of genre and worthy of the term.
Aside from the story of duty and how Gary Cooper's lawman feels obligated to stand up to the criminal who's coming to gun him down on the noon train (hence the title) the whole subtext of standing against prevailing opinion, germane in the McCarthy-ite 50's when this film was made, makes overall impressions beyond the plot itself. The vision of beauty that is the young Grace Kelly as his new Quaker/pacifist wife only adds to the enjoyment as do performances by supporting players like Lloyd Bridges and Katy Jurado and the later-to-be-made-famous-by-Spaghetti-westerns Lee Van Cleef as one of the badguy's henchmen.
This restored and picture perfect edition also includes a short but interesting documentary on the making of the film hosted by movie historain Leonard Maltin that interviews most of the people involved in the film, and a SECOND little special feature talks with the surviving children of Cooper, Kelly, the director, producer, and other principal participants, including the late John Riter, son of singing cowboy star Tex Ritter who made a hit of the theme song---and WOW does GARY COOPER's daughter look, talk, and even move like him!
Another interesting point made by the documentaries--"High Noon" was perhaps the first film ever made to use the technique of "real time"--it is almost exactly in synch with the actual minutes clicking down towards Noon and the many clocks in the film used to heighten the suspense are all in synch with each other--kind of a 1950's Western version of the modern TV hit "24" and unique for its time that way.
"High Noon" is considered to be one of the greatest movies and westerns ever made for a reason. In case you forgot, or never knew, why, this version is the one to get and, I'm sure, watch over and over through the years. ...more info
- Landmark Mature Western With Surprisingly Non Traditional Hero
The classic 1952 version of "High Noon", is an exceptional film in so many ways and totally measures up to all the praise that has been heaped on it since it's first release. Brilliantly written, with many finely drawn characters, it was an amazingly adventurous production for the time in deliberately not fitting into the standard and much loved western formula of the evil bad guys wearing th eblack hats with the fearless and in control good guy with his white hat. Gary Cooper most deservedly won the Academy Award for Best Actor for his role here in "High Noon", and his hero never once fits into the good guy western hero stereotype. His Marshall is a very human man with his own very visible insecurities and fears and it is this intriguing multidimensional character and the very unexpected supporting characters that also dont seem to fit into the expected grove usually associated with westerns, that makes "High Noon", a viewing experience to treasure. Because the film is more about intense character studies than shoot 'em out action it can be easily enjoyed by both western buffs and by others seeking a fine drama about people and their many complexities...more info
- Very Satisfied
I was very pleased with my order from this seller. I received it promptly and in better condition then was described. I will buy again from this seller. ...more info
- Would have to say it doesn't play as well today.
I like the fact that it plays out in real time. I like the story,
the societal commentary, the dialectic between the individual and the society, and the contrast between his wife and ramirez, etc. Unfortuately, the movie does plod at some points, and almost all the scenes of the bad guys at the station are quite dull. The movie is well shot, and excellently edited. The ending gunfight is also rather prosaic. Like Shane, the movie is a fine moral tale, but not great cinema. It isn't as dynamic/epic as the Searchers or Stagecoach. The performances aren't terribly gripping either. It is a good movie,
with pathos, but I don't beleive it has enough juice or complexity to be considered great. Thank you. ...more info
- AS GREAT AS MOVIES GET!!!
Prior to watching "High Noon", I watched several very good westerns: "The Broken Arrow" and "The Man Who Killed Liberty Valance".
Then comes along "High Noon." All I can say is WOW!
This is not only a great western, it is one of the best movies ever made.
Be sure to watch film historian Leonard Maltin's segment at the end of the film where you will have the privilege of seeing some of the main artists involved in the making of the film talk about it. It is fascinating.
Without Gary Cooper, I don't believe this film could or would have been made. It required an actor who was an ambivert - not totally introverted or he could not have portrayed the role, but not totally extroverted either, or we would not have the nuances of an inner life which shown through Cooper's performance. His was the academy award that year, and it was wholly deserved.
If you haven't seen this film, don't hesitate. I somehow compare it to another great film, "Grand Illusion," also filmed in black and white with a low budget. When the talent, intelligence and integrity are there on the part of every important member of the creative team, these films show us that frills are just what they are: frills.
Don't miss this one and deprive yourself.
- HIGH NOON
This Western black & white is Great.Should have been filmed in SPEIA..It woud give it the age of the ninteenth century play.
New coming of age..Lee Van Cleef...not talking just his looks were BAD! The new actress-the beauitful & graceful,GRACE KELLY gave this western classic...class.Mr.GARY COOPER..gave it rugged
and scare to continued to what could have been his last fight to live.Lloyd Bridges and all the rest of the supporting actors were just outstanding in their roles....more info
- My husband's favorite movie
High Noon is one of my husband's all time favorites. It's got some terrific lines in it. He's always quoting one of them. I bought this for his 71st birthday and he watches it at least twice a month. We like the fact that in the day and time this movie was made, foul language was unacceptable! Oh, that this was true today! It's a "must see" movie and worth every penny to buy it....more info
- Lone Justice...He Even Saved The Horses..
A heroic tale of individualistic morality that that has no identifiable political overtones as many suggest but a philosophical one of confronting the threat of wrong doing by proper action.
The movie is not a romantic theme of one against many nor a moral crusade but clearly stresses the impact that one can have on the few or many.
when put into difficult choices the imperative that ones conscience needs to be the only moral guide ruling passion plays the leading role in this movie.
The fact that Marshall Kane confronts a murderer with the resolve of keeping the peace and harmony for the town doubled later with his Quaker wife acting against her pacifistic philosophy by thwarting the murderous outlaw Miller is a a case in point of a clear situation of confronting evil as an individual matter despite the common folk wisdom of the day as shared by the apathetic town who remain isolationist despite the clear and present danger of having the outlaw Miller return and wreak havoc not only the Marshall but the possible return into anarchy and lawlessness that once ruled prior to Kane's triumph the first time around.
The movie poses a few aspects governing life.
1. Can one man make a difference in the overall moral compass?
2. Why do people act fearfully when confronting wrong?
3. When is it acceptable to go against the majority opinion of a society when the society is wrong?
4.The need at times for quick decision making even when the odds are stacked against you.
The movie depicts these questions and answers forcibly on the side of justice and righteousness.
Indeed this DVD Collectors Edition is a classic film, not an ordinary Western but boasts 2 audio restoration versions,trailers, commentary and interviews housed in a paper ingrained slipcase.
A heroic tale of bravery that remains believable. ...more info
- The story of a man who was too proud to run
High Noon (1952) is one of the best Western films ever made, but some critics see it as a parable of events in Hollywood at the time, especially the Cold War, the persecution of un-American screenwriters (in retrospect justified), and attitudes of pacifism, etc. This may be the case, but really it's a story about a man who is too proud to run.
It is a taut, tightly-scripted, minimalist film sharply focused on the tale of a solitary, stoic, honor-bound marshal/hero, past his prime and already retired, who is left desolate and abandoned by the townspeople he has faithfully protected for many years.
Due to the townspeople's cowardice, physical inability, self-interest, expediency, and indecisiveness, he is refused help at every turn against a revenge-seeking killer and his gang. Fearful but duty-bound, he eventually vanquishes the enemy, thereby sparing the town from the outlaws. Embittered by film's end, he tosses his tin star into the dirt as if to say to the town, "There, I saved you, but you didn't deserve it."
Gary Cooper is the epitome of the noble, courageous, self-sacrificing White man who carved America out of the wilderness. In this way the movie works much better as an parable of the way present day America (the townspeople) turns its back on its heroic White traditions (Gary Cooper).