High Noon (1952)

2015 #50
Fred Zinnemann | 81 mins | streaming (HD) | 4:3 | USA / English | U / PG

On the day marshal Will Kane (Gary Cooper) marries his young bride Amy (Grace Kelly), hands in his badge and plans to leave town, word reaches Hadleyville that a criminal he arrested, Frank Miller (presumably Will read DK2 and arrested him for crimes against literature), will arrive on the noon train, bent on revenge. Afraid that Miller and his cronies will terrorise the town and/or hunt down the newlyweds wherever they go, Will elects to stay and face the gang. But will any of the townspeople stand alongside him to defend their home?

Well, you probably know the answer to that — it’s one of the film’s more (in)famous facets. If you somehow don’t know and want to remain spoiler free, look away now, because the answer is: no. No one will stand with Will. Interpreted by the American left as an analogy for people being afraid to stand up to McCarthy’s HUAC witch-hunt, some on the right were less impressed: John Wayne and Howard Hawks made Rio Bravo as a direct riposte. Both are regarded as classic Westerns, so in that respect there’s no ‘winner’ there. Besides, High Noon was eventually embraced by the right as well, turning it around to see it as a celebration of one man’s dedication to his duty.

Some would contend it’s impossible to engage with High Noon and ignore that political allegory; others, like Mike at Films on the Box in his eloquent take on the film, would say it’s more than good enough to stand apart from such concerns. I have sympathy with both sides: the parallels are surely there, but it’s also a fine Western thriller in its own right. You certainly don’t need to know about the contemporaneous events it was reflecting to enjoy it. As to whether that subtext is a beneficial added dimension or a needless distraction, that’s down to personal preference.

There’s plenty else going on to keep a viewer engaged, anyway. It’s not an action-packed Western, the style many people at the time were accustomed to: according to Wikipedia, it faced criticism for its shortage of “chases, fights, and picture-postcard scenery”. In its place there’s the slow-burn tension of the clock ticking towards midday and the inevitable confrontation, as well as the moral and emotional dilemmas of the townsfolk, who’ve been happy to rely on Will’s marshalling ability for so long but refuse to help when he needs them.

There are personal relationships to contend with too: Amy is a Quaker and so a pacifist, and just wants to leave rather than face a violent confrontation; Will’s deputy, Harvey (Lloyd Bridges), refuses to help because Will refuses to recommend him for promotion; and then there’s hotel owner Helen Ramírez (Katy Jurado), who’s currently Harvey’s lover, but used to be Will’s, and before that was Miller’s. She’s planning to flee town too because, well, wouldn’t you?

To top it all off, the film takes place in near-as-damn-it real time. Regular readers will know this is a plus for me, for reasons I still can’t quite fathom. In a narrative such as this, however, it only adds to the tension: you know it isn’t going to jump from 11:30 to the titular time, for instance — you’re going to live every one of those minutes with the characters; that’s exactly how much, or little, time Will has left to get ready.

Then it all culminates in a strong extended action sequence. Surely anyone feeling deprived of such thrills was satiated at that point? Maybe the now-more-familiar structure of building to a single big sequence at the end was less accepted back in 1952.

And the attitudes of 1952 do continue to surround the film. The activities of HUAC had a serious, enduring impact on Hollywood (you only have to see the footage of Elia Kazan receiving his honorary Oscar in 1999, and the varying reactions it provoked from the audience, to appreciate that), so it’s no surprise that a film that engages with those events, however allegorically, can’t wholly shrug off such an association. For those who aren’t interested in those affairs, however, it still has a tense story and powerful character drama. Either way you look at it, High Noon is a rich, well-made, rewarding picture.

5 out of 5

High Noon is on Film4 this afternoon at 2:55pm.

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5 thoughts on “High Noon (1952)

  1. You don’t need to be aware of or have any knowledge of the HUAC business to enjoy and appreciate the film; that adds an extra layer to it all of course and is worth noting but it’s not a prerequisite in my opinion.
    And that’s a reflection of the beauty of the western, it’s ability to tell an engrossing and self-contained story on its own terms while also offering up a commentary on other issues as something of an aside.

    Liked by 1 person

      • No, I think it’s more than fair to talk about that aspect as it’s clearly there and the filmmakers at the time must have had it in mind. I just reckon the film will work every bit as effectively for someone with no knowledge of those events at all, such is the strength of the writing and the universality of the theme.

        Liked by 1 person

  2. Good stuff – glad you liked it after finally seeing it. The whole thing is an exercise in suspense building, isn’t it, one of the best for my money. And thank you so much for the link – much appreciated 🙂

    Liked by 1 person

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