The high noon of the Western motion picture
Right,
here’s the situation: you are on a sinking ship with a full cargo of DVDs and
about to be marooned on a desert island. You have grabbed your solar-powered
DVD player and monitor. You only have space for a dozen Westerns. What are you
going to seize?
Well,
this movie would be among them and could be the very first one to snatch.
So much
has been written about High Noon that
I hesitate to add to it, but on the other hand what would a Western blog be
without comments on one of the greatest Western movies of all time? So here is
what I will add to the discussion:
Coop
First,
Gary Cooper (Will Kane) was the best of all the many Western movie stars (I
think so, anyway) and in this film he was in his prime. 50 years old, he had
lost that gawky youthfulness; he had even perhaps lost some of his beauty (for
he was a beautiful man). But he had attained maturity and had gained experience
and in the 1950s he had become a ruggedly handsome man with astonishing power as
an actor.
Gary Cooper. Magisterial.
He always had power, even as a youth. The economy of his acting is
miraculous. It’s all done with the eyes. You can just see what he is thinking.
He won an Oscar for High Noon,
justly. Even Peck or Fonda would not have done it better.
A thriller
Second,
the movie is a tense thriller with a gripping plot set almost in real time -
the first clock we see says 10.33 and the story finishes at about
twelve-fifteen, so almost the same number of minutes
has elapsed as the running time of the film.
Tick, tick...
A thriller, yes, but it also
deals with important themes such as loyalty, courage, honor, non-violence and
self-respect. And like all good thrillers, you can see it again and again
and still be thrilled.
The cast
Next, Coop’s
fellow actors are outstanding.
Katy Jurado (as Helen Ramirez, in her first major
Hollywood role) is absolutely splendid. She was a graceful and voluptuous woman
and an actor capable of subtlety and nuance as well as power. It was a
great part and wonderfully well done. At a time when women were stereotypes in
Westerns - saintly homesteaders, prim schoolma’ams or saloon prostitutes -
Jurado suddenly provided a different kind of woman, a person who had made her
own way in the world and achieved if not total ‘respectability’ (she was a
saloon owner, after all) then at least a status in the community and an
independence. Despite the fact that she has been the mistress of the badman
Frank Miller (Ian MacDonald), the marshal (Cooper) and now the deputy (Lloyd
Bridges), she exudes a decency and pride that allow of no sneers or innuendo.
The way she silences an incipient inappropriate question from the choir-singing
storekeeper with a jut of her chin is magnificent. She carries herself like a
lady, she is her own woman and she is the one with the courage and fortitude to
tell Kane’s prissy, rather wet Quaker bride, “If Kane was my man, I’d never
leave him like this.” On the set, as Katy Jurado deployed her usual way of
looking directly, penetratingly into a person’s eyes as she spoke, Grace Kelly
wilted under the ‘glare’ and fluffed her lines several times.
Jurado and Bridges, both outstanding
Apparently , on the set Jurado had a cool relationship with Grace Kelly (Amy, the pacifist new wife
of the marshal), a woman who, according to Katy, appeared weak as a way of
manipulating men (quite the opposite of Jurado’s approach!) and this was
in fact ideal because it introduced an iciness between the two women into the
movie. Jurado, the passionate, sultry Latin mistress in a dark dress confronted
the very pale, overly demure prim-and-proper wife in white. As they ride in the
buckboard to the railroad station together, each for her own reasons having
decided to leave town on the same noon train that Frank Miller is coming in on,
the two women could not be more different. No prizes for which of them comes across as
the more impressive!
Kelly, weak link
Kelly seems rather wooden, if beautiful in a
glacial way, and is probably the weakest actor present.
Lloyd Bridges (as Harvey Pell, the deputy) is brilliant. Fractious,
impatient, jealous, rather too big for his boots, he is bitter at not being
nominated the new marshal on the departure of Kane. Helen Ramirez knows full
well that he is really still just a boy and needs to grow up first. It’s a
superb performance by Bridges, who was a first class Western actor. He’d
started as ‘Uniformed soldier (uncredited)’ in the plodding Northwest Passage in 1940 and had
followed that with bit parts in a dozen or so low-budget Westerns in the early
40s. But by the Randolph Scott oater Abilene Town in 1946, Canyon Passage in
’46 and Ramrod in ‘47 (all classy
films) he was starting to get bigger parts, and starting to impress. He’d acted
with Coop in the semi-Western Unconquered
in 1947 and had received his first leading role in a Western in the excellent
and underrated Little Big Horn in
1951, where he played a grizzled Army officer – yet was able, the year
after, in High Noon, to play a
petulant boy.
As for
the bad guys, they are a top-class bunch. Their boss, the released jailbird
Frank Miller who is now coming into town on the noon train to kill the lawman
who put him away, is Ian McDonald.
Like Coop a Montanan, McDonald had, like Bridges, put in his time in bit parts
in minor Westerns through the 40s but had then secured roles in pictures of of the
caliber of Ramrod, Pursued and The Man from Colorado in the late 40s, and, in 1950, and
appropriately, in Montana with Errol
Flynn. He doesn’t have a big part in High
Noon but in a way he does because he is constantly talked about and his
anticipated arrival is the key to the movie.
Boss of the badmen, Ian McDonald as Frank Miller
His
henchmen, waiting for him vulture-like at the depot, are superb: Sheb Wooley, Lee Van Cleef and Robert J
Wilke. Wooley not so much – he was a country singer who dabbled in Westerns
(sound familiar?) but Van Cleef and Wilke were classic baddies, about as good
as you are going to get. Time I did a career retrospective of both.
Great photograph of henchmen Van Cleef, Wilke, Wooley
Then of
course there are all the frightened townsfolk. Thomas Mitchell got second billing, though his part was pretty
modest as the mayor who appears to back the marshal yet in fact metaphorically
stabs him in the back. Otto Kruger
is excellent as the cynical judge packing his saddlebags, and Harry Morgan very good as the townsman
who hides behind his wife’s skirts (Mildred
Fuller, very well done) to avoid being deputized. Especially moving is Lon Chaney as the marshal’s
predecessor, now racked by arthritis and unable to hold a gun. Morgan Farley is the minister who squirms
around trying to reconcile his religion, status in the town and fear.
Pro-Frank Miller in the saloon
Let’s
not forget the smaller parts. I thought Howard
Chamberlain superb as the slimy hotel clerk and of course who should the
town drunk be but Jack Elam! Great. James Millican is an uncredited deputy.
Lee Aaker (the lad from Rin Tin Tin) is the boy. He was actually a
very good actor. If you look carefully you can spot among the uncredited
townspeople the likes of John Doucette,
Harry Harvey and Syd Saylor.
So much
for the cast.
The score
Then,
the famous music, what you might call ‘Orchestral Variations on a Cheesy Tex
Ritter Song’ by Dimitri Tiomkin, also Oscar-winning. It is haunting and
beautiful.
The cinematography
Another
outstanding aspect of the film is the fine Floyd Crosby photography. The flat
light and bright, white, glaring skies, the low-angle shots and sharp cuts all
emphasize the pitiless realism. He used no filters and deliberately went for a
‘documentary’ look. They even highlighted Kane’s dirt, sweat and bruises. It is
visually stark. There was flat lighting also for Cooper, to highlight, not
smoothen his wrinkled, haggard face. The close-ups of the principals’ faces at
two minutes to twelve are quite stunning. We see in their expressions all the
different reasons why they have not stood by Kane. And we see the gloating
anticipation of those looking forward to Kane’s death.
Producer, director, writer
Together
and in only 32 days, producer Stanley Kramer, director Fred Zinnemann, and scriptwriter/producer/partner
Carl Foreman (who when told of the similarity of his plot to John Cunningham’s
story The Tin Star, bought the rights to the story for $25,000) and cameraman
Floyd Crosby, all on a budget of $750,000 (what a Republic Western of twelve
years previously cost), enabled these excellent actors to perform a simple,
moving tragedy of huge power.
Zinnemann, Kramer, Foreman, artists all
Allegory
Of
course it was a statement of America’s pusillanimous refusal to stand up to
McCarthyism, and Carl Foreman was blacklisted by HUAC shortly afterwards and fled
to England. Floyd Crosby and Lloyd Bridges were ‘graylisted’. John Wayne (then
President of the MPA) was convinced that the movie was anti-American and
thought the famous scene of the lawman throwing the star of office in the dust
unpatriotic. Howard Hawks thought so too. Doh. Hadleyville, New Mexico was suspiciously close to Mark
Twain’s corrupted Hadleyburg.
Reaction
When it
came out, the movie did receive some criticism from traditional audiences of
cowboy films who expected more chases, and the big outdoors. High Noon
seemed too intense, too static, too talky, more like a theater play. You would
have thought that the fight in the stable and the final shoot-out would have
satisfied them but they didn’t really ‘get’ the power of the film. Others did,
though, and even right-wingers like Dwight Eisenhower and Ronald Reagan greatly
admired the movie. Some of the critics of the time were enthusiastic. The
New York Times review said that every so often “somebody of talent and
taste, with a full appreciation of legend and a strong trace of poetry in their
soul—scoops up a handful of clichés from the vast lore of Western films and
turns them into a thrilling and inspiring work of art.” True.
The film
was nominated for Academy Awards for Best Picture, Best Director and Best
Writing/Screenplay. It won Oscars for Gary Cooper as Best Actor and also for
Best Editing (Elmo Williams and Harry W Gerstad) and for Dimitri Tiomkin’s
music – and in fact for Ned Washington and Tex Ritter. Katy Jurado, who ought
to have won an Oscar, won a Golden Globe for Best Supporting Actress.
High Noon has had a lasting impact. Solidarność
used it in Poland and Lech Walesa wrote, “Cowboys in Western clothes had become
a powerful symbol for Poles. Cowboys fight for justice, fight against evil, and
fight for freedom, both physical and spiritual. Solidarity trounced the
Communists in that election, paving the way for a democratic government in
Poland. It is always so touching when people bring this poster up to me to
autograph it. They have cherished it for so many years and it has become the
emblem of the battle that we all fought together.”
Symbol of Solidarność
High Noon is in some ways the definitive Western.
Does it remind you of the famous walk-down in The Virginian?
Great write-up. BTW, Lee Aaker was considered for the role of Jeff Miller in 'Lassie,' right after he returned from shooting 'Hondo' in Mexico with John Wayne. He was apparently relieved when passed over by the Wrathers because he was physically worn out from the Mexico shoot. The role of Jeff eventually went to the excellent Tommy Rettig, while Aaker was soon snapped up for the role of Rusty in TV's 'The Adventures of Rin Tin Tin.'
ReplyDeleteI always mix up the kids from Rin Tin Tin and Lassie! But Aaker is great in Hondo. So many child actors came across as whiney, not surprisingly as you can't expect children of that age to be great actors. I thought Shane was seriously weakened by De Wilde's performance. But every now and then you get one who seems natural.
ReplyDeleteHi Jeff. This is the second 'anonymous' from the Northwest Passage comments. I still don't get the 'URL' business or any of the others so I suppose I'm going to have to stay anonymous for the time being. I think Dimitri Tiomkin's music deserves a bit more than you gave it. I like his music a lot especially the big rumbling ooomphs that come up often for no real reason and the dum-diddle-ump-diddle-umps that come in when somebody is just walking along a corridor in Rio Bravo. And when the train goes up the mountain in Night Passage absolutely wonderful. But I think some of his less obvious but best writing is in High. In particular the buggy ride. It's more than a set of variations on the theme song. As the ride goes on Tiomkin distorts and breaks up the theme so it becomes the musical depiction of the turmoil going on in Kane's mind until he stops the buggy and says "It's no good". It's perfect. The other perfect moment is when Kane steps out the door into the lonely street. It's Cooper's acting, it's the crane shot but it's also Tiomkin's music brings out the loneliness and the heroism of the moment.
ReplyDeleteHi there
DeleteIt's a good point. I think the music of HN does suffer a bit from the famous cheesy ballad, which is often the only bit people remember, but you are right, some of the other music is superb.
Jeff
About High Noon becoming an allegory of the post war period and atmosphere in the US due to HUAC activities may I recommand "High Noon: The Hollywood Blacklist and the Making of an American Classic" by Glenn Frankel who has also written an excellent and exciting book about The Searchers a few years ago. JM aka an other anonymous who is not an expert in url business...
ReplyDeleteThanks for the tip.
DeleteJeff