High Noon
Originally written and conceived as an attack on McCarthyism and the Communist witch hunts of the 1950s, Fred Zinnemannâs classic Western today stands ironically as the story of one lone man with integrity as he not only faces four deadly outlaws looking to kill him, but also the apathy and cowardice of the townspeople who refuse to stand by him and forces him to stand alone. As Marshall Will Kane, Gary Cooper shines in the role that made him immortal to this day, refusing to turn tail and run with his gorgeous new bride (Grace Kelly), yet seemingly pushed to the breaking point by the sheer fact that everyone, even his deputies, seem to be able to come up with an excuse to puss out. (Ironic that John Wayne condemned the film as being the most âUn-Americanâ he had ever seen, but nonetheless accepted Cooperâs Best Actor Oscar on his behalf at the ceremony that year). The supporting cast is surprisingly strong and star-studded as well: Kelly as his Quaker wife who abhors violence is such a hottie we wonder if Kane has really made the right decision to stand and fight; Lloyd Bridges as the deputy who wants a promotion in exchange for his services plays off well; Katy Jurado (one of Hollywoodâs first Latina babes) is beautiful and strong as Kaneâs old flame who spurns Bridges and chastises Kelly for not standing by her man; plus there are bit parts for such names as Lon Chaney Jr., Harry Morgan, Jack Elam (as the town drunk), and even Lee Van Cleef (in his debut) as one of the killers coming to town. Admittedly there is some disappointment when the lead villain Frank Miller finally arrives and barely makes an impact on the story, and a late hour fistfight between Bridges and Cooper seems sloppily shot and edited, but at 85 minutes (and nearly told in real time), the story moves briskly without the viewer ever feeling cheated out of character development, and the Oscar-winning drumbeat score that plays throughout brilliantly heightens the tension as the viewer counts down to the big showdown. Ultimately the film lives or dies with Cooper, and the metaphor of how many of the townspeople seem indifferent that he seems to be facing certain death and are ready to shun the decent man and throw their support behind that of the âcoolâ outlaw is one that continues to ring true in this day and age. In the end, a true classic that transcends its original intentions and still holds up heads and shoulders to this dayâŚ
9/10