High time for a timeless film

Westerns don't come more crowd-pleasing than films like "High Noon," which functions like a psychological thriller packed in a love triangle nestled in a morality play but set in the Old West. The observations about this movie were plentiful in last evening's CineVerse group discussion. Here's a roundup of the salient points made:

HOW IS HIGH NOON A DEPARTURE FROM OTHER EARLY 1950s or PRE 1950s WESTERNS?

• There’s very little action until the last 30 minutes.

• The story is told and shown virtually in real time (105 minutes of action within an 85 minute movie).

• The protagonist is heroic, but realistic (gives up his sheriff duties at the end) and honest (admits to being scared; he’s a reluctant hero).

• This was the first major instance of a popular ballad theme song in a western, which was much copied thereafter.

• There are a lot of grey areas among loyalties and rightness/wrongness: some townspeople prefer Miller’s lawless ways, others are doubtful of Kane’s motives, others are indecisive.

• The climactic gunfight is not very drawn out or stylistically depicted (i.e., multiple angles, slow motion, long shooting exchanges)—instead, it’s quick, dirty and realistic.

• The victory feels hollow at the end—Kane gives up the badge and rides off seemingly bitter.

• It’s not so much a traditional western as it is a parable or morality play depicting a social problem that transcends any genre

WHAT ARE SOME OF THE MOTIFS, CLICHES AND PREDICTABLE CHARACTERS OR PATTERNS THAT HIGH NOON SHARES WITH NEARLY ALL WESTERN FILMS?

• The showdown climax

• Good vs. evil: you have a figure representing law, justice and decency vs. immoral killers.

• A love story: a pretty girl plays a role in the proceedings.

• The hero is imbued with humanity, dignity and pride; he’s clearly the good guy.

HIGH NOON HAS BEEN DESCRIBED AS A MORALITY PLAY ABOUT CHOICES. WHO IN THIS FILM IS FORCED TO MAKE A DIFFICULT CHOICE?

• Kane and the townspeople are forced to choose between honor and duty and self-preservation/cowardice.

• Amy must choose between standing by her man and her peaceful religious beliefs.

• Harvey Pell must choose between ego and friendship.

HOW WAS THE MORALITY PLAY WITHIN HIGH NOON A REFLECTION OF ITS POLITICAL TIMES—THINK EARLY 1950s

• The red scare and McCarthy witchunts were going on when many Hollywood players were forced to name names of communist sympathizers—many of those persecuted made the brave choice to fight the persecution and stand ground.

• Kramer is “betrayed” or turned on by villagers he thought were friends, just like many who were blacklisted during the HUAC (House Committee on Un-American Activities) period.

• “High Noon” is also seen as an allegory of the cold war and U.S. foreign policy during the Korean War (where America went it alone).

WHY IS THE FILM’S THEME SONG OR LEAD BALLAD, DO NOT FORSAKE ME, IMPORTANT TO THE FILM AND TO THE GENRE OF THE WESTERN?

• It actually prophesizes what is going to happen—it gives hints as to the struggle to come.

• Before High Noon, few dramatic films featured songs sung with lyrics; after High Noon, many did—especially westerns.

OTHER NOTABLE FILMS DIRECTED BY FRED ZINNEMAN

• From Here to Eternity

• Oklahoma!

• A Man for All Seasons

• Day of the Jackal

• Julia