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High
Noon (1952)
Director:
Fred Zinneman |
COUNTRY
USA |
GENRE
Western |
NORWEGIAN
TITLE
Sheriffen |
RUNNING
TIME
84
minutes |
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Producer:
Stanley Kramer
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Screenwriter
(based on a story by John W. Cunningham):
Carl Foreman |
Review
Incredibly
tight, uniformly accepted quintessential western classic from Fred
Zinneman, whose ability to acknowledge and interpret the psychological
depth and relevance of Carl Foreman's pondering script made High Noon
an immediate hit as well as an important, genre-altering film. What's
interesting with High Noon is that, although it has the same
stance regarding the conflict between the burgeoning urbanization of the
new world and the freedom of the lone rider as the films of Sergio Leone
or John Ford, its point of view (even sympathy, if you like) lies on the
other end of the scale. Even Will Kane realizes that, although he
will remain the good guy, he is about to impose a way of life back onto
the society he represents that has been deemed surplus to requirements
and antiquated. Gary Cooper's thoughtful, sad eyes front a deep and
harrowing character study, and Lloyd Bridges is perfect as his
intermediate adversary - the representative of the common man's
ambivalence and inability to grasp the complexity of the situation. It's
not the showdown that makes High Noon, it's the depth and
universal validity of the brilliant preface. And the film's technical
achievement is the perfect intensifier - from the ticking, real-time
clocks to the allegorical images. A film to put on the reading-list for
more than one university course.
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