#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – On the day he gets married and hangs up his badge, lawman Will Kane is told that a man he sent to prison years before, Frank Miller, is returning on the noon train to exact his revenge. Having initially decided to leave with his new spouse, Will decides he must go back and face Miller. However, when he seeks the help of the townspeople he has protected for so long, they turn their backs on him. It seems Kane may have to face Miller alone, as well as the rest of Miller’s gang, who are waiting for him at the station…
Plot: Will Kane, the sheriff of a small town in New Mexico, learns a notorious outlaw he put in jail has been freed, and will be arriving on the noon train. Knowing the outlaw and his gang are coming to kill him, Kane is determined to stand his ground, so he gathers a posse from among the local townspeople.
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|7.9/10 Votes: 97,809|
|7.7 Votes: 929 Popularity: 11.48|
A masterpiece of tightly plotted drama/suspense in what would become The Adult Western. Normally, one is happiest on your wedding day, but former lawman Will Kane is troubled.
An old nemesis is due on the noon train, and his gang is in town to meet him. He’s sworn to kill the man who sent him to prison, so the expected action is to flee.
But weighed down with a new bride and traveling in a buckboard, there’s no chance of escape.
Seeking help to at least face down the gang, Will Kane returns to town, and finds that everybody either won’t or can’t Do The Right Thing. The inaction of the town is a thinly disguised parable of The Cold War, with the U.S. standing alone against the Red Menace
As Will Kane walks through the silent town, which he “served and protected” for years, we are left to wonder if we would do the same. 8/10
This is just a dirty little village in the middle of nowhere. Nothing that happens here is really important.
Will Kane (Gary Cooper) is a retiring lawman all set to leave the town of Hadleyville with his new bride Amy (Grace Kelly). But word comes that a notorious gunslinger he put in prison has been released and is heading to town with his gang intent on bloody revenge. With a sense of fearless duty Kane decides to stay and sets about enlisting a posse, however, he finds that nobody in the town that he made safe for everyone will aid him in his mission.
The 1950s saw a big shift in styles for the American Western. After the yee-haw Cowboy Vs Indians excess of the 40s, the decade was ushered in by such films as Broken Arrow. Showing the Native Americans in a sympathetic light, Broken Arrow also showed that clearly Westerns had much more to offer than frothy shoot them up entertainment. Which brings us to High Noon, a black and white Oater that landed in 1952 and is still today revered as a quintessential classic Western. Which is not bad considering there’s no gun-play here until the last five minutes of the 85 minute running time.
What makes High Noon so significant is that it’s not a big movie in terms of production. There’s no reams of extras dashing around in glorious Technicolor, no sprawling vistas inhabited by colourful characters, this is pretty understated stuff. Yet thematically it’s as big as it gets, a lesson in character drama where not a frame is wasted. From the unforgettable opening of three bad men (Lee Van Cleef, Robert Wilkie, Sheb Wooley) waiting at the station while Tex Ritter’s ballad explains the plot, to the now legendary and iconic ending, High Noon simmers with suspense and intensity as the story unravels – all told in real time too.
Based on a short story called The Tin Star written by John W. Cunningham, High Noon is directed metronomically by Fred Zinnermann and is shot in high contrast by cinematographer Floyd Crosby. Thus the film has a documentary feel to it, giving it an authentic edge so rarely seen in the Western genre. The piece is further boosted by the performance of Cooper. Winning the Oscar for best male performance, Cooper was 50 years old and into his third decade as a movie star. His prancing around in Western days were reducing by the month, yet High Noon shows it to be one of the finest casting decisions made in the 50s. In agony from a back injury and other ailments during the shoot, Cooper carries the movie with brilliant sincerity, conveying the pain of a man now alone as he trundles towards doom. The realisation is that all his heroism and graft that made Hadleyville a safe place for women and children to live, now counts for nothing, it’s a heavy weight on Kane’s shoulders. It’s here where Cooper excels, there’s no histrionics or drawn out speeches, it’s through expressions and body movements that the story gains its emotional momentum. A remarkable turn from a remarkable actor, proof positive that you didn’t need a dashing leading man to propel your movie.
The film notoriously angered Howard Hawks & John Wayne, the themes and the perceived allegory for blacklisting a bone of contention that led to them making Rio Bravo as a riposte in 1959. There’s many an essay on High Noon and the links to Senator Joe McCarthy, HUAC etc etc, so really I have no interest in going there. Instead I think it’s just fitting to say that Zinnermann himself always resisted talking in terms of allegorical interpretations for his film. He, rightly so, felt to do that would be unfair and dampen the huge significance of his wonderful movie.
Amen to that. 10/10
A Man Who Won’t Run Away
For me, Will Kane embodies the American ideal of a hero: a man who stands up for what is right, even when nobody else does, even when the temptation is strong to stick the head in the sand.
Will Kane explains his outlook at the outset: there is no point in running away if that means spending the rest of your life watching your back. His best chance is to face his enemies on his home ground. At this point, he still thinks that honest folk will stand by him. The rest of the movie is a study in character: will he stand his ground when his entire world crumbles around him?
It is puzzling that Howard Hawks, John Wayne, and others thought of High Noon as un-American. I am not sure if this is because of the allegory of the McCarthy era; or the people of an American town collectively sticking their heads in the sand; or the Marshal throwing his badge to the ground in the last scene.
Clearly, the movie does not criticize McCarthyism itself. (It has nothing to say about communism, either.) It appears to criticize the people who did not stand up to McCarthy and the HUAAC, but it can equally well be seen as a comment on the appeasers who did not stand up to fascism or communism.
In any case, not too much must be made of the anti-appeasement angle, because the townsfolk is not the primary focus of the movie: the focus is on Will Kane. When the townsfolk behave like cowards, that gives Will Kane a chance to prove that he is a hero. If the town had stood by the Marshal, we would have seen, at best, an excellent Western like Rio Bravo, but not a masterpiece like High Noon. For Will Kane to be a hero, it is necessary that he stands alone.
No statement can convey the dramatic impact of Will Kane throwing his badge away, but it is worth discussing what this gesture means. For me, it means that the town and the badge were not worth fighting for. Will Kane fought for principle: he fought because he does not run away.
A Western Classic that Salutes Real Brave Man and Slaps cowards
High Noon (1952) : Short Review –
A Western Classic that Salutes Real Brave Man and Slaps cowards. Undoubtedly, the most powerful Marshal film ever. High Noon appears as fast tracked and real time thrilling experience that will certainly win you heart. You would want to salute the real brave man in the film and clap for him. A honest and brave marshal finds himself in trouble when none of the citizens come out to help him against 4 criminals, not even his own bride. But he ain’t spineless, he stands tall against all odds while rest of the spineless creature run back. While watching the film i literally had tears in my eyes when i saw a man who gave his entire life to help people and to service the law gets no help at all. This is the Time when you realise who’s the Real Man and who are just useless living coward creatures. There’re couple of scenes in the film which hit my heart, when Ramirez talks about Kane being a Real Man, that church scene when a woman yells that how Kane has changed our lives from a Dirt to clean town. High Noon doesn’t waste a single moment to build up the story and there’s not a single boring moment when you can take off your eyes in 85 minutes runtime. Gary Cooper shows a real courageous man and you just can’t hate him. Deserving Oscars i say. Gorgeous looking Grace Kelly and Katy Jurado have small roles but important ones. Director Fred Zimmerman pulls the trigger on right time as he seamlessly buils up tension, suspense and ends it with proper action. High Noon also has several iconic scenes and dialogues which have influenced many Cop films over the years. In short, High Noon is Remarkable achievement and inspirational showcase among Brave-hearted films. The only minor complaint i have is, High Noon could have became a People’s Film if the Climax had been little different. It Focuses on One Man’s courage when it could have became an inspiration for the unity and Society. This is just so freaking awesome for the time it released. A Must See is the least and worst i can say.
RATING – 8/10*
By – #samthebestest
Original Language en
Runtime 1 hr 25 min (85 min)
Genre Drama, Thriller, Western
Director Fred Zinnemann
Writer Carl Foreman (screenplay by), John W. Cunningham (based on the magazine story “The Tin Star” by)
Actors Gary Cooper, Thomas Mitchell, Lloyd Bridges, Katy Jurado
Awards Won 4 Oscars. Another 13 wins & 10 nominations.
Production Company Stanley Kramer Company
Sound Mix Mono (Western Electric Recording)
Aspect Ratio 1.37 : 1
Laboratory United Artists Studio Laboratory, USA (uncredited)
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm