High Noon is a 1952 American Western film produced by Stanley Kramer from a screenplay by Carl Foreman, directed by Fred Zinnemann, and starring Gary Cooper. The plot, depicted in real time, centers around a town marshal who is torn between his sense of duty and love for his new bride and who must face a gang of killers alone.
High Noon | |
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Theatrical release poster | |
Directed by | Fred Zinnemann |
Produced by | Stanley Kramer |
Screenplay by | Carl Foreman |
Based on | "The Tin Star" by John W. Cunningham |
Starring |
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Music by | Dimitri Tiomkin |
Cinematography | Floyd Crosby |
Edited by |
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Production company | Stanley Kramer Productions |
Distributed by | United Artists |
Release date |
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Running time | 85 minutes |
Country | United States |
Language | English |
Budget | $730,000 |
Box office | $12 million |
Though mired in controversy with political overtones at the time of its release, the film was nominated for seven Academy Awards and won four (Actor, Editing, Music-Score, and Music-Song) as well as four Golden Globe Awards (Actor, Supporting Actress, Score, and Cinematography-Black and White). The award-winning score was written by Russian-born composer Dimitri Tiomkin.
High Noon was selected for preservation in the United States National Film Registry by the Library of Congress as "culturally, historically, or aesthetically significant" in 1989, the NFR's first year of existence.
Screenplay
In Hadleyville, a small town in New Mexico Territory, Marshal Will Kane (Cooper), newly married to Amy Fowler (Grace Kelly), prepares to retire. The happy couple will soon depart for a new life to raise a family and run a store in another town. However, word arrives that Frank Miller (Ian MacDonald), a vicious outlaw whom Kane sent to jail, has been released and will arrive on the noon train. Miller's gang—his younger brother Ben (Sheb Wooley), Jack Colby (Lee Van Cleef), and Jim Pierce (Robert J. Wilke)—await his arrival at the train station; it is clear that Miller intends to exact revenge.
For Amy, a devout Quaker and pacifist, the solution is simple—leave town before Miller arrives, but Kane's sense of duty and honor are strong. "They're making me run," he tells her. "I've never run from anybody before." Besides, he says, Miller and his gang will hunt him down anyway. Amy gives Kane an ultimatum: She is leaving on the noon train, with or without him. While waiting at the hotel for the train, she meets Helen Ramírez (Katy Jurado), who was once Miller's lover, and then Kane's, and is leaving as well. Amy understands why Helen is fleeing, but the reverse is not true: Helen tells Amy that if Kane were her man, she would not abandon him in his hour of need.
Kane's efforts to round up a posse at the tavern, and then the church, are met with fear and hostility. Some townspeople, worried that a gunfight would damage the town's reputation, urge Kane to avoid the confrontation entirely. Others are Miller's friends, and resent that Kane cleaned up the town in the first place.
Kane's young deputy Harvey Pell (Lloyd Bridges), who is bitter that Kane did not recommend him as his successor, says he will stand with Kane only if Kane goes to the city fathers and "puts the word in" for him. Kane rejects the quid pro quo, and Pell turns in his badge. Kane visits a series of old friends and allies, but none can (or will) help: his predecessor, Marshal Howe (Lon Chaney Jr.) is old and arthritic; Judge Percy Mettrick (Otto Kruger), who sentenced Miller, flees on horseback, and urges Kane to do the same; townsman Herb Baker (James Millican) agrees to be deputized, but backs out when he realizes he is the only volunteer; Sam Fuller (Harry Morgan) hides in his house, sending his wife (Eve McVeagh) to the door to tell Kane he isn't home. The only one to tender aid is a fourteen-year-old boy; Kane admires his courage but rejects his offer.
At the stables, Pell saddles a horse and tries to persuade Kane to mount it and leave town. Their conversation becomes an argument, and then a fist fight. Kane finally knocks his former deputy senseless, and returns to his office to write out his will as the clock ticks toward high noon. He then goes into the street to face Miller and his gang alone.
The outlaws approach and the gunfight begins. Kane guns down Ben Miller and Colby, but is wounded in the process. As the train is about to leave the station, Amy hears the gunfire, leaps off, and runs back to town. Choosing her husband's life over her religious beliefs, she picks up Ben Miller's gun and shoots Pierce from behind, leaving only Frank Miller, who grabs Amy as a shield to force Kane into the open. Amy claws Miller's face and he pushes her to the ground, giving Kane a clear shot, and he shoots Miller dead.
Kane helps his bride to her feet and they embrace. As the townspeople emerge and cluster around him, Kane surveys them with bitter contempt, wordlessly throws his marshal's star in the dirt, and departs with Amy on their wagon.
- Gary Cooper as Marshal Will Kane
- Thomas Mitchell as Mayor Jonas Henderson
- Lloyd Bridges as Deputy Marshal Harvey Pell
- Katy Jurado as Helen Ramírez
- Grace Kelly as Amy Fowler Kane
- Otto Kruger as Judge Percy Mettrick
- Lon Chaney Jr. as Martin Howe, the former marshal
- Ian MacDonald as Frank Miller
- Eve McVeagh as Mildred Fuller
- Harry Morgan as Sam Fuller
- Morgan Farley as Dr. Mahin, minister
- Harry Shannon as Cooper
- Lee Van Cleef as Jack Colby
- Robert J. Wilke as Jim Pierce
- Sheb Wooley as Ben Miller
- Uncredited cast
- James Millican as Herb Baker
- Howland Chamberlain as the hotel receptionist
- Tom London as Sam, Helen's attendant
- William Newell as Jimmy the Gimp
- Larry J. Blake as Gillis the saloon owner
- Lucien Prival as Joe the Bartender
- Jack Elam as Charlie, the town drunk
- John Doucette as Trumbull
- Tom Greenway as Ezra
- Dick Elliott as Kibbee
- Merrill McCormick as Fletcher
- Virginia Farmer as Mrs. Fletcher
- Virginia Christine as Mrs. Simpson
- Harry Harvey as Coy
- Paul Dubov as Scott
The creation and release of High Noon intersected with the second Red Scare and the Korean War. In 1951, during production of the film, Carl Foreman was called before the House Un-American Activities Committee (HUAC) during its investigation of "Communist propaganda and influence" in the Hollywood motion picture industry. Foreman had once been a member of the Communist Party, but he declined to identify fellow members, or anyone he suspected of current membership. As a result, he was labeled an "uncooperative witness" by the committee, making him vulnerable to blacklisting. After his refusal to name names was made public, Foreman's production partner Stanley Kramer demanded an immediate dissolution of their partnership. As a signatory to the production loan, Foreman remained with the High Noon project; but before the film's release, he sold his partnership share to Kramer and moved to Britain, knowing that he would not find further work in the United States.
Kramer later asserted that he ended their partnership because Foreman had threatened to falsely name him to HUAC as a Communist. Foreman said that Kramer feared damage to his own career due to "guilt by association". Foreman was indeed blacklisted by the Hollywood studios due to the "uncooperative witness" label and additional pressure from Columbia Pictures president Harry Cohn, MPA president John Wayne, and Los Angeles Times gossip columnist Hedda Hopper, among others.
According to Darkness at High Noon: The Carl Foreman Documents—a 2002 documentary based in part on a lengthy 1952 letter from Foreman to film critic Bosley Crowther—Foreman's role in the creation and production of High Noon has been unfairly downplayed over the years in favor of Kramer's. Foreman told Crowther that the film originated from a four-page plot outline he wrote that turned out to be very similar to a short story by John W. Cunningham called "The Tin Star". Foreman purchased the film rights to Cunningham's story and wrote the screenplay. By the time the documentary aired, most of the principals were dead, including Kramer, Foreman, Zinnemann, and Cooper. Victor Navasky, author of Naming Names, a definitive account of the Hollywood blacklist, told a reporter that, based on his interviews with Kramer's widow and others, the documentary seemed "one-sided, and the problem is it makes a villain out of Stanley Kramer, when it was more complicated than that".
Richard Fleischer later claimed he helped Carl Foreman develop the story of High Noon over eight weeks while driving to and from the set of The Clay Pigeon (1949) which they were making together. Fleischer says his RKO contract prevented him from directing High Noon.
Casting
John Wayne was originally offered the lead role in the film, but turned it down because he felt that Foreman's story was an obvious allegory against blacklisting, which he actively supported. Later, he told an interviewer that he would "never regret having helped run out of the country". Cooper was Wayne's longtime friend, and shared his conservative political views; he had been a "friendly witness" before HUAC, but did not implicate anyone as a suspected Communist, and later became a vigorous opponent of blacklisting. Ironically, Cooper won an Academy Award for his performance, and since he was working in Europe at the time, asked Wayne to accept the Oscar on his behalf. Although Wayne's contempt for the film and refusal of its lead role were well known, he said, "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 ... Now that I'm through being such a good sport ... I'm going back and find my business manager and agent ... and find out why I didn't get High Noon instead of Cooper ..."
After Wayne turned down the Will Kane role, Kramer offered it to Gregory Peck, who declined because he felt it was too similar to his role in The Gunfighter, the year before. He later said he considered it the biggest mistake of his career. Marlon Brando, Montgomery Clift, and Charlton Heston also declined the role.
Kramer saw Grace Kelly in an off-Broadway play and cast her as Kane's bride, despite Cooper and Kelly's substantial age disparity (50 and 21, respectively). Rumors of an affair between Cooper and Kelly during filming remain unsubstantiated. Kelly biographer Donald Spoto wrote that there was no evidence of a romance, aside from tabloid gossip. Biographer Gina McKinnon speculated that "there might well have been a roll or two in the hay bales", but cited no evidence, other than a remark by Kelly's sister Lizanne that Kelly was "infatuated" with Cooper.
Lee Van Cleef made his film debut in High Noon. Kramer first offered him the Harvey Pell role, after seeing him in a touring production of Mister Roberts, on the condition that he have his nose surgically altered to appear less menacing.
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