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on 5 February 2004
Please be warned: as great a film as this is (and it’s a gem) the actual DVD is dreadful. Picture quality is on a par with a video – blurry and very dark. Sound quality is not much better. But worst of all, there are sudden black-outs between scenes that appear about 4-5 times throughout the film. These are very poorly done and sudden and do not appear on the region 1 release. I suspect they are fade-outs for commercials!
If you have a multi-region DVD player then check out the Region 1 version (not the Collectors Edition) for the best picture quality. The difference is amazing.
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on 14 November 2006
The greatest and best Western ever made, beautifully dark, real and with almost all of the usually prevalent adventurous and romantic John Wayne style removed. This is a thrilling, emotional and yet truthfully simple film that is directed with all the tense skill that Zinnemann would go on to show in 'Day of the Jackal'. The plot builds and builds in suspense, and while Cooper and Kelly expertly perform the pitiful roles of Kane and his bride that gain our empathy, the other townfolk demonstrate a contrasting cruel cowardice that is just...genuine.

The skill of the acting and direction and stark bleakness of the plot, mixed with a heady infusion of true love and goodness, gives it a reality that puts it above more romantic views of the West such as 'Stagecoach' and 'Rio Bravo'. 'The Searchers', 'Shane' and Eastwood's recent effort 'Unforgiven' come close to reproducing this, but it will take a real act of perfection to tumble 'High Noon' from its pedestal. I salute you!
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This is the quintessential Hollywood western. It will continue to represent the genre for many decades to come.
It stars Gary Cooper, one of the most beloved of leading men who personified soft-spoken heroic courage in scores of important films, including Beau Geste (1939), The Pride of the Yankees (1942), Along Came Jones (1945), The Court Martial of Billy Mitchell (1955), etc., and Grace Kelly in her debut role. Directed by Fred Zinneman, whose credits include From Here to Eternity (1953), A Man for All Seasons (1966), Julia (1977) and a dozen more, High Noon tells the story of Will Kane, a small town marshal who, on his wedding day faces a man just let out of prison with three of his outlaw friends who are aiming to get revenge for his being sent up.
The enduring image of the film is Gary Cooper walking tall in the deserted streets of the town in a black Western hat, a black vest, long-sleeved white shirt, black string necktie, watch chain, boots, and low slung holster and two belts, while off to the side inside the wooden buildings we see "that big hand move along, nearin' high noon--which is when the train arrives carrying the freed prisoner.
Will Kane has cleaned up the town, but now the gunslingers return and he is their target. His wife of less than an hour (Kelly) demands that he leave town. The town itself, in fear of the gunmen, also wants him to leave town, hoping to take the fight away from them. He tries to recruit deputies but everyone is afraid. Even his lone deputy (Lloyd Bridges) deserts him. In the background is Dimitri Tiomkin's haunting ballad, sung by Tex Ritter: "Do Not Forsake Me, Oh My Darling (On This Our Wedding Day)." Both Cooper and the song won Oscars. Noteworthy was the fine performance by Kay Jurado as ... Ramirez, Cane's ex, a shrewd barroom lady and proprietress.
What is interesting about the moral conflict (from the story, "The Tin Star" as interpreted for film by screenwriter Carl Foreman), that of facing your enemy rather than running, is that Kane's rationale is logical. If he runs they will only come after him again and again. Only two people get this, Kane and Ramirez. The larger moral issue of whether to fight to defend yourself (Grace Kelly is cast as a Quaker and does not believe in killing) is resolved during the climatic shootout by Grace Kelly's character herself in a manner that did not set well with Quakers.
How well does this black and white classic Western play today? The towns people seem cliches and the outlaws are quickly drawn, but Gary Cooper as Will Kane seems entirely believable, admirable, heroic in the best sense of the term as a man who knows the dangers, feels the fear, and yet must act, and he does. He is no shallow, two-fisted, machine-gun hero so often seen in Hollywood productions, but a man of maturity whose "grace under pressure" (a fine definition of courage) tells us and himself who he really is.
See this for Gary Cooper whose "slow-talking, slow-walking," (lyrics from the Coaster's hit song from the fifties, "Along Came Jones"), and soft-spoken heroics delighted and enthralled a couple of generations of film-goers.
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on 26 January 2001
This is an exceptional western: an exceptional film. It follows the three classical unities of time, place and theme: it takes place in 'real' time; the action is centred on the town and its environs; there are no sub-plots to detract from the main story. Tightly controlled and acted. A great credit to Fred Zinnemann and his team.
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on 11 June 2013
Olive Films Blu Ray pictureHigh Noon: 60th Anniversay Edition [Blu-ray] [1952] [US Import] is at least 10 times better than my 2001 Universal DVD pictureHigh Noon [DVD]. Well worth the upgrade. Most review sites have this as Zone A Locked, but plays fine on my Zone B player. Only extras are a making of featurette and trailer which are on the old DVD. Comes in usual naff 11mm US slim case(in a slipcover), but sleeve looks good in a proper 14mm Amaray caseAMARAY Blu-Ray Cases - 14mm Spine - (10 Pack).
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TOP 500 REVIEWERon 23 January 2007
This film is absolutely marvellous, almost faultless. Against the advice of everyone and at great personal risk, a man - Gary Cooper, who is wonderful - stays true to himself and faces the Miller gang. If he turns away from his destiny, his life's work goes for nothing. If he faces it, he loses his new wife (Grace Kelly) and possibly his life as well. So it seems, but the film has some surprises to spring. No-one of note stands by him, though one or two, touchingly, try. The film is full of beautifully shot scenes, Cooper is mesmerising and the rest of a fine cast never let him down - and there is extra atmosphere from the haunting little cowboy song called, 'Do not Foresake me O my Darling'. This really is one of the classics of American cinema, one of the best of all Westerns, and well worth seeing.
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If you have never seen High Noon then it is most certainly time that you did. This is a very fine suspense Western. The story concerns a Town Marshall, Will Kane portrayed by Gary Cooper and his increasingly desperate attempts to enlist the help of unwilling townspeople to stand against a gang of vengeance seeking killers who are shortly to descend on the town. The film was directed by Fred Zinneman who was not noted for his Westerns, unless you count Oklahoma. Zinneman uses the artful device of real time to crank up the suspense as we are constantly shown the ticking clock. The film was made in black and white which adds to the starkness and realism of the film.

The film opens with the bad guys meeting up and starting their long ride into town accompanied by the terrific Tex Ritter track memorably beating out in the background. The Ned Washington lyrics were a perfect accompaniment to the mood of the film. The song deservedly won for best song at the Academy Awards. It also introduces a very young Lee Van Cleef to the moviegoing public. It is a startling sequence and one of the more memorable openings in movie history. Cooper is excellent as Will Kane a man struggling to contain his demons, a role which earned him a best actor at the Academy Awards. Although struggling against the tide he refuses to drown. Despite the possible fatal consequences he is a man who will not shirk his responsibilities.

Cooper was said to be ill during the making of the film which may explain his very gaunt appearance. Grace Kelly plays his very pretty young bride who transpires to be his only help. Lon Chaney jnr, Katy Jurado, Thomas Mitchell and Lloyd Bridges provide strong support.
The film was made in 1952 and is groundbreaking in providing a gritty realism seldom seen in Westerns of the period. Heroes were not usually so angst ridden and the bad guys were not gunned down in the usual formulaic style of that genre. It is a desperate struggle against the odds and Kane needs all the help he can get which turns out to be little.

The film and its director were accused of being anti American in that none of the townsfolk went to the sheriffs assistance, and in the final gesture at the end of the film where Kane throws the badge of his authority into the dirt. And who could blame him for that. Would a town totally abandon its law abiding sheriff in his hour of need? Having held a position where I had to uphold the law, I would personally prefer to think not. Nowadays it is fashionable to make anti establishment gestures. Times have changed. The film was made in a spare 21 days, on a small budget and the script was partly written by the blacklisted Carl Foreman, just before his London exile which may have lent some credence to the anti American theory at that time.

So hats off to Fred Zinneman for making such a well crafted and original Western. This is an excellent addition to the collection of any serious Western afficienado.
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on 22 March 2014
Olive Film's 60th anniversary Blu-ray edition of High Noon (1952) presents this critically lauded, still controversial western masterpiece in a Hi-Def transfer that renders all other home video versions obsolete.

The Stanley Kramer production, tightly directed by Fred Zinnemann and written by the blacklisted Carl Foreman, earned the hatred of 1950s McCarthyists, including John Wayne and Howard Hawks, who were so outraged they made Rio Bravo (1959) as a right-wing response. Wayne went further than that, teaming up with Hollywood Gossip mogul Hedda Hopper and the House Un-American Activities Committee to run Foreman out of the country. Foreman moved to England and never returned. Wayne forever boasted of forcing the writer into exile. Kramer, responding to accusations that High Noon was anti-American, tried to get Foreman's name taken off the credits. Gary Cooper intervened on Foreman's behalf, making Kramer's effort unsuccessful, but Kramer had better luck forcing Foreman to sell his part of their company. So much for loyalty under pressure: ironic, given the film's theme of civic morality.

The biggest offense of the film, for Wayne and his fellow extremist kooks, was the final shot of Will Kane supposedly dropping his marshal's badge in the dust and stomping on it. Wayne saw symbolism aplenty, but his faulty vision was filtered through a lens of Cold War paranoia and exaggeration.[1] Will Kane merely dropped the badge. He never stepped on it. The other offense was the portrayal of the townspeople as a greedy, self-cannibalizing lot, a hypocritical church community who argue their way out of communal (and personal) loyalty. Wayne and Hawks' Rio Bravo depicted, in sharp contrast, a town full of old-fashioned buddy-buddy camaraderie. If Wayne and Hawks were alive today they might have rethought their depiction, because High Noon could served as an apt snapshot of contemporary division. It's a good thing that actor/director team didn't live to see the 21st century, though, because despite the intent behind Rio Bravo, and despite its occasional tendency towards sentimental phoniness, it remains, along with High Noon, one of the standout westerns in the genre's greatest decade.[2]

One cannot approach High Noon without addressing its political themes, both within the film's text and those raised in its aftermath. Along with writer Formean, co-star Lloyd Bridges and cinematographer Floyd Crosby were also awarded with temporary blacklists until the FBI cleared them of Communist affiliations. The fifty-one year old Gary Cooper was engaged in an affair with his twenty-three year old co-star Grace Kelly (putting an end to Coop's affair with Patricia Neal.) Kelly's fling with the long established Republican protected her from McCarthyism's scrutiny. Cooper was friendly with the HUAC, and testified before them (without ever naming names), but he only did what was expected of him, then returned to his top priority of resuming his romance with a future princess.

Cooper was in Europe by the time the Academy Awards Ceremony rolled around and asked Wayne to accept the award of Best Actor on his behalf, should he happen to win. Of course, he did, and the Duke did a prompt, public about-face in his acceptance speech: "Ladies and gentlemen, I'm glad to see they're giving this to a man who is not only most deserving, but has conducted himself throughout the years in our business in a manner that we can all be proud of. Coop and I have been friends hunting and fishing for more years than I like to remember. He's one of the nicest fellows I know. And our kinship goes further than that friendship because we both fell off horses in pictures together. Now that I'm through being such a good sport about all this sportsmanship, I'm going back and find my business manager, agent, producer, and three-name writers and find out why I didn't get High Noon instead of Cooper."[3]

The speech renders Wayne a hypocrite, since seeing potential red from the outset, it was he who first refused the role of Marshal Will Kane, thus paving the path for Gary Cooper in the part.[4] Yet, despite Wayne's standing as a precursor of Rush Limbaugh's pharisaical aggression, he can, perhaps, best be summed up in an assessment I was privy to in a screening of Red River (1948). The host, an erudite writer, had this to say about Wayne: "I met the Duke's son Patrick. Unlike his dad, Patrick is a thorough gentleman; pleasant and courteous. Unfortunately, he also differs from his dad when it comes to acting because Patrick's a lousy actor. His dad was a great actor and that's not really up for argument."

However, as skilled an actor as he was, Wayne as Will Kane would have been a loose right-wing cannon. Gary Cooper's brand of authentic conservatism merged seamlessly with his marshal. Cooper's laconic, weathered portrayal of internalized integrity shines through Zinnemann's opulent artistry.[5]

Ronald Reagan and Dwight D. Eisenhower were among the film's fans. Reagan saw positive American values in the theme of an individual placing the safety of his peers above his own personal interests. When I first saw the film in my youth, prior to readings of political allegories, my interpretation of the film paralleled Reagan's.

If Wayne has come to embody our idea of the snarling, mythological Westerner, Gary Cooper is our moderate, amorous Rino cowpoke. We readily accept his pairing with Grace Kelly's Quaker Amy Fowler (the "darling Clementine" of the film's theme song). Amy is a model of another form of extremism. Amy's tragic past has rendered her a pacifist with a checklist, adhering to each dogmatic bullet point. Will cannot violate his conscience to succumb to any extreme ideology. We genuinely root for their reconciliation. Oddly, it is in its climax that we find High Noon is, in fact, a paradigm for conservative mythology. Once faced with physical threat, Amy's militant pacifism is, in fact, submitted as a futile, theoretical interpretation of Christian tenets. The townspeople, led by Mitchell, have their own ideological creeds, dictated primarily by the potential capital gains Frank Miller and his gang bring by their return to Hadleyville.

Katy Jurado's Helen Ramirez is the literary female counterpart to Kelly's pure Virgin Mary. Helen, the tainted Magdalene, is, of course, a necessary contrast, and she steals every scene she is in, despite Zinnemann's efforts to highlight Kelly. Not unexpectedly, there was rivalry between the two actresses on set. Lon Chaney, Jr. shines in his role as the arthritic former lawman and Kane mentor, Martin Howe. Chaney acts with such effective pathos that one wished producers had realized his greater potential as a character actor, rather than as a B grade horror star. Lloyd Bridges' portrayal of self-serving deputy Harvey Pell is less effective, occasionally stiff in line readings, and a noticeable case of miscasting. Lee van Cleef, debuting here, was originally cast in the role of Pell, but he would not surgically alter his nose, which producers thought "too villainous looking." Instead, Cleef was relegated to playing one of the thugs, setting him on the path to a wonderfully typecast career.

Editor Elmo Williams' work here is exemplary and, with much ballyhoo, he cut the film to play out in real time. Dmitri Tiomkin's score is perfectly synchronized, and Tex Ritter's theme song, which sold over a million copies, is so iconic that every singer tackling it since then has rendered a pale imitation.

Zinnemann and Crosby intentionally shot High Noon in stark black and white. Zinnemann valiantly fought to keep media mogul Ted Turner's filthy colorizing hands off the film. Alas, Zinnemann lost and Turner, with Republic Pictures, produced an asinine colorized version for television. Therein lies the difference between celluloid and the corporal world. In the latter, sometimes the bad guys win.

*Due to John Wayne's interpretation of this scene, he and fellow right wing extremist Ward Bond bullied Gary Cooper into backing out of a planned independent production company with Forman and producer Robert Lippert. [↩]

*The American Film Institute lists High Noon second in its list of top ten westerns. First is John Ford's The Searchers (1956) with Wayne. Two other films starring Wayne made the list: Red River at number five and Ford's Stagecoach (1939) at number nine. [↩]

*The Academy of Motion Picture Arts and Sciences was as hypocritical as Wayne, awarding the Best Picture Oscar to Cecil B. DeMille's dreadful The Greatest Show On Earth (1952), in order to appease Joseph McCarthy and the right-wing campaign launched against High Noon. This snub is, justifiably, seen as one of the many examples of the Academy's irrelevancy. [↩]

*Gregory Peck was next offered the role after Wayne refused it. Peck also declined the part, feeling it too closely resembled The Gunfighter (1950), which he had just made. Peck later counted the decision as his biggest career mistake. However, Peck, ever the gentleman, admitted he could not have played the part as well as Cooper. Charlton Heston, Montgomery Clift, Marlon Brando, and Kirk Douglas were also offered the role and declined it. [↩]

*Zinnemann and makeup artist Gustaf Norin gave Cooper no makeup in order accentuate the actor's inherent sense of anguish. [↩]

** my review originally appeared at 366 weird movies
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on 24 February 2016
Much better than I remembered but I still have to ask why all the townspeople didn't help the main character. After all, they had probably all lived through considerable hazards to get to the town and settle there so I'm sure a few bad men wouldn't have worried them at all.
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on 10 October 2003
As a western fan for only a few years now mainly because of Clint Eastwood I branched out into classic westerns but nothing came close to the suspense i felt when watching High Noon something akin to a feature length episode of 24 set in a small town during the time of the Wild West. It immediately entered my list of top ten movies and definately rates as the best Western ever made.
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