Exoticalot People are voting emotionally.

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Kamila Bell This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Eclectic Cinephile I really love High Noon. Second time is even better than the first time. It feel so perfectly shot, cleanly edited, well-timed; I just love the way Gary Cooper fits into his character Will Kane, and I get more and more attached to him the more and more everyone abandons him.The last few minutes of gun fighting feel very real. For the most part Kane is on the run and yet he fights back without any trace of cowardice. In contrast to another great Western The Searchers, where the heroes are the pursuers, the hero is the hunted one. I think that works very well; it also feels more satisfying to see his defeat of the bad guys in the final moments.Yet there's a real bittersweet thing going on here. Helen Ramirez is gone from the town, never to return. The town is full of corrupt and cowardly people. Only the young boy who was eager to aid Kane but was turned down gets a smile from Kane at the end of the movie. And Will Kane's wife had to abandon her Quaker pacifism to save her husband. Nothing comes easy here."Do Not Forsake Me Oh My Darling" felt a bit tacky at first, but I took a liking to it.Everything feels stripped down, meat-and-potatoes, and I think it surprised a lot of American moviegoers when they first saw it in 1952. Now it feels less strange, but it still feels "other" compared to the great Westerns of John Ford or Howard Hawks, or even the Sergio Leone spaghetti Westerns.I think this is one of my favorite 1950s films, alongside The Big Heat, The Searchers, The Ten Commandments, Seven Samurai, and Ben-Hur. Say what you will about the puritanism of the American 1950s era, but it was a really fertile period for American movies and even for other non-American movies.

JohnHowardReid A production of the Stanley Kramer Company. Copyright 30 August 1952 by Stanley Kramer Productions, Inc. Released through United Artists. New York opening at the Mayfair: 24 July 1952. U.S. release: 30 July 1952. U.K. release: 9 June 1952 (sic). Australian release: 3 October 1952. Sydney opening at the Plaza. 84 minutes. SYNOPSIS: Four gunslingers travel by the noon train to a small western town where they plan to shoot down the sheriff who sent their leader to prison.NOTES: High Noon won four Academy Awards, including Best Actor (Gary Cooper), Best Film Editing, Best Music Scoring of a Drama or Comedy, and Best Song. The film was also nominated for Best Picture (won by The Greatest Show On Earth), Best Directing (won by John Ford for The Quiet Man), and Best Screenplay (won by Charles Schnee for The Bad and the Beautiful). Other awards include two from The New York Film Critics (Best Motion Picture of 1952 and Best Direction for 1952) and the number one spot (Best Film of 1952) in The Film Daily's annual poll of around six hundred film critics in the USA and Canada. The National Board of Review rated High Noon second to The Quiet Man as Best American Film of 1952. Gary Cooper came in second to Martin and Lewis as America's top money-making star of 1952. High Noon became United Artists' top boxoffice attraction for 1952 in the USA, Canada, Mexico, Great Britain, New Zealand, South Africa, and Australia. Indeed in Australa, the picture was the second highest coin-spinner of the year. Only MGM's road-shown (at advanced prices) Quo Vadis took more money. Locations in Sonora and at the Columbia Studio ranch. Interiors filmed at the Motion Picture Centre.COMMENT: Definitely one of the greatest movies of all time, High Noon is surely the ultimate in cinema suspense. Foreman's taut script is dramatically reinforced by a number of key technicians, including director Zinnemann, cinematographer Crosby, and film editor Williams. If ever an actor deserved his Award, Gary Cooper comes through with full honors for his brilliant study of the loner-worn out, weary, deserted, let down-who is forced to put his own life and everything he holds dear on the line. Coop gets great support from the entire cast, particularly Grace Kelly, Lloyd Bridges, Katy Jurado and Lon Chaney in principal roles, whilst small-part players contribute many memorable cameos (for example, Howland Chamberlin as the sneering hotel clerk). The four gunmen are menacingly yet individualistically portayed by Ian MacDonald, Lee Van Cleef, Robert J. Wilke and Sheb Wooley.

cartjos I can always nitpick about some aspect of how the script plays out and think I can do a better job. When it comes to the camera stuff I will not pretend to know anything. Now that I have got that out of the way I have always felt the visuals in "Shane" were the best of any film I had seen. At over 60 I have finally taken the time to watch "High Noon" and was blown away by the way it was filmed. Black and white works here when I am sure it would have made Shane a poorer movie. Wilke, Cleef, and Wooley played their parts in what I would call an understated and very believable way. Grace Kelly has to be the most beautiful woman to ever have graced the silver screen. It could have been a silent film and still been a joy to watch, though the song "The Ballad of High Noon" and dialogue make it a much better experience. For different reasons High Noon now joins Shane at the top of my list of favorite Westerns.

elvircorhodzic HIGH NOON is an exciting and inspiring western. Honestly, this is the little piece of art. The sheriff of a town in the Wild West all alone must confront the gang killer. This is a film in which all components are working properly.Through the story permeate the diversity of human character. This is a movie about a brave and standoffish sheriff who at any moment to firmly take a stand. Opposite him are new wife, former love, a city full of punk and a coward (each has a valid reason) and a group of bandits. The director conceived action, so that it coincides duration of the story and the actual duration of the film. Innovative and successful. Zinnemann scored steady growth of tension, which further intensified the use of close-ups of the main character, from which emanated despair and loneliness. Several anthology, visually magnificent scene was achieved by using a camera on the crane, which, although not entirely a novelty, is not overly used in the cinema of the time. Black - white photography is more than impressive.It is important to recognize the courage and composure in a man. All against one. The film touches on many issues that were not typical of westerns, such as individual responsibility, alienation, hypocrisy and of course human morality. People are often in difficult or desperate situations on their own. I have the impression that this simple story with dramatic consequences. I do not mean you no harm, on the contrary I want you well, but I can not help you. People are too often silent observers, although "something" directly concerns them.Gary Cooper as Marshal Will Kane simply dominated in this film. Age and visible fatigue contribute to realistic presentation of his character. Grace Kelly as Amy Fowler Kane was a young wife who is coping quite well. Pacific attitude is ordered at the right time. Katy Jurado as Helen Ramírez is a mysterious Mexican tied to both sides. Lloyd Bridges as Deputy Marshal Harvey Pell was deputy to whom no one can rely on.Emotional and moral film with good climatic ending. If you go against the will of the people, you generally stay alone, in this case, one man can spit in the face of the people, because he saved their asses. This is not a controversial film. It is quite interesting and somewhat intriguing.