Small, compact, and brimming with suspense, High Noon feels nothing like the other A westerns of the post-war period–epic movies like Red River, My Darling Clementine, and The Searchers. With its 85-minute runtime and looks-like-every-other-western sets, it feels more like the forgettable B oaters Hollywood was cranking out weekly in those days.
But unlike those cheapies, it had an expensive cast (headed by Gary Cooper), a talented director in Fred Zinnemann, and a crackerjack screenplay by Carl Foreman. With all that talent, it stands out as one of the best westerns of the 1950s–and one of the most controversial.
The plot is simple enough. On his last day on the job, which is also his wedding day, Marshal Will Kane (Cooper) discovers that murderer Frank Miller will arrive on the noon train to murder Kane. Miller’s three buddies are waiting at the train station already.
Against the wishes of his new wife, a Quaker and pacifistic (a not-yet famous Grace Kelly), he sets out to line up a posse to take care of the bad guys. But one by one, his so-called friends turn away from him, leaving him to face four killers on his own.
Westerns always celebrate courage, but Cooper’s Kane feels more courageous than most. He’s facing almost certain death. Everyone tells him to run away. He’s terrified and comes close to crying (Cooper won an Oscar for the performance). But he still does what he has to do.
This is a very self-contained film in something very close to real time. The story appears to take place in something very close to the film’s 85-minute runtime.
At the time Foreman was writing High Noon, he knew it was only a matter of time before he would be blacklisted from Hollywood for his left-wing activities. He assumed, correctly it turned out, that High Noon would be the last film he’d be able to put his name on for some time. The story of a man insisting on doing the right thing, and having his friends turn on him for it, would have meant a lot to an ex-Communist working in Hollywood in the early 1950s.
Not everyone approved of High Noon, and many still object to it. Howard Hawks made Rio Bravo (an even better western, where the marshal refuses help from the citizens) as an answer to High Noon. And Samuel Fuller’s 40 Guns ends in a scene that is similar to–yet shockingly different from–High Noon’s climax.
How It Looks
Shot in 35mm black and white, High Noon recently received a 4K digital restoration. Olive Films presents this new restoration in a glorious 1080p Blu-ray, pillarboxed to the appropriate 1.37×1 aspect ratio.
I’ve never seen it look this good–and I’ve seen it in 35mm. The detail is absolutely amazing. You can see wood grain even in the long shots. And when you can’t see the wood grain, it’s because you can see the film grain.
The grayscale isn’t all that great. But High Noon never really had much of a grayscale, even on film. That was apparently intentional.
How It Sounds
Olive presents High Noon’s original mono soundtrack in DTS-HD Master Audio. The sound is as good as it should be for a low-budget film from 1952.
And the Extras
Olive Films built a reputation on licensing classic films and releasing them with good transfers but no extras. This release of High Noon marks the new Olive Signature series, with extras.
- A Ticking Clock: 6 minutes; 1080p. Academy Award Nominee Mark Goldblatt (The Terminator) discusses the movie’s real-time structure and the use of clocks. Fascinating and too short.
- A Stanley Kramer Production: 14 minutes; 1080p. Michael Schlesinger talks about High Noon’s producer, who would soon be a major director. It’s a quick overview of his career, from someone who loves It’s a Mad, Mad, Mad, Mad World far more than I do.
- Imitation of Life: The Blacklist History of High Noon: 9 minutes; 1080p. Larry Ceplair, author of The Inquisition in Hollywood,
talks about the blacklist and Foreman in particular. Blacklisted screenwriter Walter Bernstein adds additional insight.
- Oscars and Ulcers: The Production History of High Noon: 12 minutes; 1080p. This visual essay covers the making of the film, the blacklist issue, and Gary Cooper’s involvement. Until I saw this, I had no idea that Poland’s anti-Communist Solidarity movement used an image from High Noon in a poster.
- Uncitizened Kane: Essay by Sight & Sound editor Nick James. You can read this article on your TV screen via the disc, or on the printed booklet that comes in the package. I read it from the booklet. It’s worth reading.
- Theatrical trailer
This disc is available now.