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. Ye…

I am guessing that High Noon is one of those seminal films that influenced the western genre immensely for a long time. The fifties? That is back when we wanted our heroes to be heroic. No greed or cruelty or inconsistent morals were allowed. Marshall Will Kane states near the beginning that he has to stick around for the evil Frank Miller to show up. Then he admittedly has a bit of a wobble when it seems the whole town, including his new Quaker wife, is telling him to leave. It is his time in the wilderness fighting the devil of easy-ways-out, But in the end he is Marshall Will Kane sticking around because it was the right thing to do. Hero time, and it works. It is not all that works. This movie uses a can’t miss formula to build up suspense. We are told early on that the bad guys will be sauntering into town after the noon train arrives, and then the rest of the way we catch glimpses of clocks to keep us informed about how much longer it will be for the payoff scenes. Tick, tick, tick. The back story of several of the characters is laid out for us while it slowly becomes clear that the Marshall is on his own. I will say no more abut the plot. You must not watch this with a jaundiced eye. If you find yourself thinking, man, I have seen this or that in so many westerns, remember that those other westerns likely came after this one. Watch it for its craftsmanship in how it t…

Gary Cooper is great in this tightly-packed revenge western. Newly married to "Amy" (the sparingly used but effective Grace Kelly) he has decided to stop being the town marshal and live a more peaceful life. It's on that very day, however, that he discovers that the outlaw "Miller" (Ian MacDonald), whom he sent to jail years earlier has been released and is heading back on the noon train to settle some old scores. "Kane" initially concludes that discretion is the better side of valour and decides to skedaddle, but a change of heart sets up a potential conflict that he soon discovers his cowardly townsfolk have little stomach to support him through. Fred Zinnemann allows Cooper and the very effective Thomas Mitchell as the spineless mayor "Henderson" to work well in building up a toxic mix of double-standards and fear whilst always fuelling the anticipation of the inevitable duel that's got to happen at the denouement. Dimitri Tiomkin's score and the Carl Foreman adaptation of the original short story help to keep this taut, exciting and puts this up there amongst the best of the genre. A classic example of concise and engaging storytelling with a strong cast and a solid story.