Film: High Noon

"People gotta talk themselves into law and order before they do anything about it. Maybe because down deep they don't care. They just don't care."

One of the most famous film Westerns, despite omitting or subverting many of the genre's tropes. High Noon is in some ways a gentle deconstruction of The Western, depicting a hero mired in moral complexities, rather than the simple black-and-white of the traditional Western.

Town marshal Will Kane (Gary Cooper) is planning to retire and live happily with his new wife Amy (Grace Kelly), two sure signs of impending doom. On his last day the whole town learns that Frank Miller (no, not that one), a criminal Will had arrested, will arrive on the noon train with his gang, looking for revenge. Will seeks support from the townsfolk, but none of them will stand with him, not even his deputy. Amy, a pacifist, urges him to leave, but he refuses, choosing to fight Frank alone.

High Noon was written by Carl Foreman, while he was under investigation by the House Un-American Activities Committee, and he was subsequently blacklisted. The film can be seen as a parable about US society in general, and US intellectuals in particular, abandoning those summoned to appear before the committee.

High Noon is the film most requested for viewing by the U.S. Presidents. Bill Clinton named it his favorite (allegedly having it screened in the White House a record 17 times), and Ronald Reagan and Dwight D. Eisenhower were also big fans.

Additionally, High Noon "inspired" Rio Bravo and Outland. See Recycled In Space for more.

This film provides examples of:

  • Batman Grabs a Gun: Amy's decision to break her pacifist code to save Will.
  • Betty and Veronica: Amy and Helen.
  • Bittersweet Ending: Will was able to defeat Miller but departs by throwing down his badge without a word, disillusioned by the townspeople's cowardice. The townspeople are now left without anyone defending them and are too cowardly to take the mantle.
  • Bloodless Carnage: Used inconsistently: a fistfight leaves Kane covered in blood, but people who're shot just fall over.
  • Children Are Innocent: The children dismissed from the church aren't the least bit upset about Miller's impending return, which they've just heard about, and are content to cheerfully play around. (It's possible they don't really know who he is, though.)
  • Completely Different Title: Subjected to many of these. "The Train Will Whistle Three Times" in France and Portugal, "Kill or Die" in Brazil, "The Threat" in Romania, "Alone Against Danger" in Spain, "At the Assigned Time" in Latin America", "Sheriff" in Norway...
  • Cowboys and Indians: Kane runs into kids who imitate the battle between him and Miller, with him shot to death.
  • Crapsack World: Hadleyville. Marshal Kane ask the town's help for stopping a returning villain and his gang. Only a 14-year-old, a half blind old man and his pacifist wife tried to help him. His deputy wanted to help... but only to get Kane to appoint him as the next marshal. Lampshaded by...
    The Judge: "This is just a dirty little village in the middle of nowhere. Nothing that happens here is really important. Now get out."
  • Deliberately Monochrome: While it doesn’t hurt that color wasn’t in vogue for serious/art films at the time, the black-and-white color schemes are suggestive of a good-vs.-evil conflict in a morally-complex story. The photography was intended to look 19th-century, and especially intended to resemble the solemn palettes from photography of the Civil War. When the idea of colorizing black and white films turned to High Noon, Word of God was, in essence, “No thank you.”
  • Divided We Fall: Will's deputy refuses to help him unless Will agrees to him being the next marshal.
  • Expository Theme Tune: "The Ballad of High Noon."
  • Extremely Short Timespan: The film is in real-time; there are clocks in almost every room, constantly keeping track.
  • Good Scars, Evil Scars: Frank Miller sports some evil scars.
  • Guns Akimbo: Colby, a member of Miller's gang (Lee Van Cleef) rushes into the barn blazing wildly with two guns. Kane picks him off neatly with one gun.
  • Hair of Gold, Heart of Gold: Played with. Amy, initially depicted as naive and innocent, insists that she is familiar with violence and ultimately becomes Kane's only supporter.
  • Hero Looking for Group: Subverted. See Posse below.
  • Honor Before Reason
  • Implausible Synchrony: There's a clock prominently displayed in every house in town, and they're all showing the exact time, just so there's no doubt as to how soon the big showdown will take place.
  • Insignia Rip-Off Ritual: Kane takes off his own badge.
  • In the Back: Amy shoots one of Miller's man, Pierce, in the back through a window.
  • Knight in Sour Armor: Will Kane
  • Light Is Not Good: Frank Miller dresses in white in contrasting his goons wearing black.
  • Lock and Load Montage: Subverted. Two minutes before he faces Frank Miller alone at noon, Kane sits down in his office and begins preparing by writing his will. Enter Dimitri Tiomkin's score and a montage of Kane at his desk, the omnipresent clock, Amy and Helen in the hotel, Miller's goons at the depot, and pretty much everybody else in the whole town at the saloon or church.
  • Offstage Villainy: We spend most of the film only hearing about Frank Miller.
  • May-December Romance: Gary Cooper was 28 years older than Grace Kelly and more than 22 years older than Katy Jurado.
  • Meek Townsman: Just about everyone in town.
  • The Missus and the Ex: Amy and Helen. Although Helen Ramirez clearly still carries a torch for Kane, she helps persuade Amy to be the partner she knows he deserves:
    Helen: I don't understand you. No matter what you say. If Kane was my man, I'd never leave him like this. I'd get a gun. I'd fight.
    Amy: Why don't you?
    Helen: [beat] He is not my man. He's yours.
  • Names to Run Away from Really Fast: Inverted. The hero is "Kane," while the villain has the benign name of "Miller."
  • Neutral Female:
    • Subverted. Amy vows not to support or help her husband fight the thugs, but ultimately she is the only person to help him fight. She shoots a bad guy and is even able to break free of Miller's hold so her husband can shoot him.
    • Played straight by many of the female townspeople. Some seem disgusted at their husbands' refusal to help Kane, but do nothing themselves.
  • Politically Correct History: It's typical for a lot of Westerns to gloss over or stereotype Hispanic characters, but this film averts it. Helen faces prejudice over her ethnicity, and is only able to help run a store by being a silent partner. The other owner of the store refuses to be seen with her in public.
  • Posse: Subverted; Kane tries to get one, but unsuccessfully. Some refuse to join him out of cowardice, others because they sympathize with Miller. The only people who would be willing to help him are an one-eyed old drunk and a 14-year-old boy; Kane sends them away, as they'd be more of a hindrance.
  • Prematurely Marked Grave: Marshall Kane is not amused to find the local carpenter building several coffins in anticipation of the impending gunfight.
  • Put Down Your Gun and Step Away
  • Rage Against the Legal System: This is Miller's reason for coming to town-to kill Kane because he was the one to arrest him.
  • Real Time: Kane's one-hour deadline ticks down in real time.
  • Retired Gunfighter: Will Kane, trying to hang up his guns to marry his Quaker bride.
  • Riding into the Sunset: Will and Amy at the end, though it's not a sunset.
  • Right on the Tick: the passage of time is extremely important in this film.
  • Rousing Speech: Subverted in the church.
  • Screw This, I'm Outta Here!:
    • When Kane first hears that Miller is coming, the people around him urge to escape. He grabs his wife and a wagon and get out of town. He stops when he realises that he's panicking; he doesn't even have his guns with him. On returning to the town he finds the judge calmly packing up his horse to leave town, being aware from prior experience that the townspeople will not help Kane.
    • Helen Ramírez sells her part in the store at a very disadvantaged deal and immediately leaves the town. She knows that it doesn’t matter Kane wins or loses against Frank Miller, the town will not help him and either way they will lose the only man who defied the Crapsack World they live in. She takes substantially less money that she is due because Haydleville is doomed by their Meek Townsmen inhabitants, and the guy who buys the store will be stuck with a store in a Ghost Town.
    • Kane pulls this on the townspeople at the end; when they emerge after all the fighting's done, he tosses his badge into the dirt and walks out on the lot of them.
  • Showdown at High Noon: Of course.
  • Training the Peaceful Villagers: Subverted. Kane tries, but they aren't interested, even when their town is at stake.
  • Undertaker: On hearing Kane is going to stay and fight Frank Miller, a store owner eagerly tells his carpenter to start making up several coffins, as no matter who wins there will be a demand. He's embarrassed when Kane comes round as the carpenter is banging away in the back, and discretely tries to get him to stop. Kane is unimpressed, and sarcastically says he'll leave them to get on with their coffin-making.
  • Villain with Good Publicity: Miller's thug Pierce is welcomed as a hero by the saloon rats of the town. Some people assert that Miller isn't a villain, he's just involved in a personal dispute with Kane.
  • Violence Really Is the Answer: Many people urge Kane to run away rather than fight, including his pacifist wife, but he stands his ground, and his wife forsakes pacifism to save his life.
  • The Voiceless: Colby, the harmonica-toting thug played by Lee Van Cleef, has no lines.
  • Wedding Day: The entire movie takes place on Will's wedding day.
  • The Western
  • What the Hell, Townspeople?: Kane shows his contempt for the cowardly townsfolk after he wins; when they gather around him, he drops his badge and leaves without a word.
  • When the Clock Strikes Twelve: Twelve o'clock Noon, in this case. We are constantly given shots of the clock and pendulum to remind us of Kane's supposedly imminent comeuppance.