High Praise for High Noon (1952) NR
Restraint is a word far from the lips of many in today's generation. Sadly, the lack of restraint has pervaded not only our society, but this beautiful planet we stand upon.
I guess we'll see the effects of this lost virtue in coming years. There is every reason to suggest, though, that consequences will not be pleasant.
It's a fairly obvious statement to make then, that restraint of any kind is part of the problem with late-20th, and early 21st-century, Hollywood. Control has been replaced by excess, of every persuasion, and sadly, perversion.
But it wasn't always so. Take one of this week's What You Missed features, High Noon, regarded by many as the best Western of them all.
The intense, and highly charged story of a mid-Western town's Marshal, Will Kane, played adroitly by Gary Cooper, his impending departure from town with new wife, the pacifist Amy (Grace Kelly), and the unexpected and untimely return of the bad guy intent on settling scores with Kane, is a demonstration of the benefits one can expect from bridling the emotions.
The bad guy, Frank Miller, and his band of three, have vengeance on their mind, in the form of erasing Marshal Kane from off this earth. On learning of Miller's iminent return on Kane's wedding day, and coincidentally, last day as Marshal of Hadleyville, the townsfolk encourage Kane to take his beautiful new bride and hastily leave town, as there is only 90 minutes until the noon train arrives, with the murderous Miller on board.
Kane obliges, and rides off in clouds of Kansas dust, into married life, and a future as a storeowner, somewhere along the ever expanding American frontier. But, he is caught in a question of honor, and obligation. To the people he has protected for so many years, and now, his devoted wife.
On his return, and with the clock ticking, Kane manages to divide the townsfolk, ostracize his wife, and basically set himself up for a serious come-uppance at the hands of Miller and his men.
Faced with more obstacles than an Olympic Showjumper, Kane manages to calmy tackle each one, in turn, through his dour approach to life. With little frills, histrionics, and where only the facts really matter.
Filmed in real time, the ticking clock takes on a whole new meaning, as events unfold at the same pace as the movie. With a score that contstantly emphasizes the passage of time, and a main song that highlights the ultimately lonely battle that awaits the Marshal with the arrival of the noon train.
I am not generally a fan of Westerns, but High Noon, for all of its plaudits as the best of its genre, is not typical cowboy fare. Devoid of chases, and only the solitary gun battle in the final minutes, it is the story and various dramatic devices expertly used in the hands of Director Fred Zinneman that has garnered such high praise.
As with all classic cinema, it is a picture that is timeless in its message. It talks about law and order, and what a lonely exercise it is, despite the public clamor for safety. It's about honor and duty, and the value such virtues distill upon those individuals and communities endowed with them. And of course, it is about that special loyalty whicht exists between man and wife. A trust to be maintained inviolate, at all costs.
Yes, High Noon is filmmaking at its pinnacle, and an entertaining and meaningful experience. Typical of the day though - it was made in the 50's, don’t forget - there is plenty of smoking, and drinking.
One of the central characters is most likely a lady of questionable repute, and inference of a number of men's familiarity with her is clear. But as far as outright values assault, or ambush, there are none, and High Noon could be watched happily by the whole family. However, it is my opinion that only the 12 and up age group would 'get' it.
Watch it freely, and enjoy. It is a very pleasant experience.
By Brett Stringer
