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. ((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.)) 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. ((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.))
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 Continue reading HIGH NOON (1952)
Link Jones is about to catch a train headed for Texas. He is on a mission to find a school teacher for his small town’s new school, and is carrying the funds to pay for her. A Marshall at the local train station thinks he recognizes Link, asks Link his name, inquires into Link’s past, and asks him if he knows the fugitive Doc Tobin (Lee J. Cobb). Link cautiously shakes his head, lies, squints, and evades the Marshall’s penetrating looks. Mann’s expert manipulation of Cooper’s personality traits is so subtle as to be believable and, thus, unnerving. It was unsettling enough for 1958 audiences to reject it, and even contemporary critics have often lamented the casting of Cooper, as opposed to Stewart, in this film. Stewart would not have worked nearly as well, simply because his casting would have been acceptable, even expected.