SYNOPSIS
One of the most treasured Hollywood
classics, and one of the most influential and iconic Westerns ever made, High Noon remains a powerful study of heroism, and the tension between the individual and the society around him. One of the best
films by director Fred Zinnemann (From Here to Eternity) — and produced by Stanley Kramer — High Noon is riveting entertainment and an acknowledged American masterpiece, yet one with surprisingly tumultuous roots.
In his Oscar-winning performance, Gary Cooper stars as small town Marshal Will Kane, preparing to retire and leave town with his young bride Amy (Grace
Kelly). However, plans are derailed with the impending arrival of outlaw Frank and his brutal gang. Unfolding in real time, High Noon follows Will as he futilely tries to assemble a posse with the reluctant townspeople, who want Will to forget about a conflict — as does Amy, a Quaker pacifist who just wants to avoid violence. But as high noon approaches, Will realises he must do the moral thing…with or without help.
While the film has become a favourite of U.S. presidents from Eisenhower and Reagan to Clinton, its release was controversial: John Wayne (who had turned down the role) and
Howard Hawks hated it, precisely because it was viewed as a thinly veiled allegory for the
House Un-American Activities Committee hearings investigating communism at the time. Its politics make it even more intriguing now, but regardless, High Noon is one of the most important — and gripping
films — of the 1950s.
SPECIAL FEATURES;4K Digital Restoration
Optional English subtitles for the deaf and
hard-of-hearing
Exclusive audio commentary by historian
Glenn Frankel, author of High Noon: The
Hollywood Blacklist and the Making of an
American Classic
Exclusive audio commentary by western
authority Stephen
PrinceVideo interview with film historian Neil
Sinyard, author of Fred Zinnemann:
Films of Character and Conscience
A 1969 audio interview with writer Carl
Foreman from the National Film Theatre
in London
The Making of ‘High Noon’ [22 mins]– a
documentary on the making of the film
Inside ‘High Noon’ [47 mins] and Behind
‘High Noon’ [10 mins] – two
video pieces
on the making and context of the film
Theatrical Trailer
A collector’s booklet featuring an essay
by Philip Kemp; two archival pieces on
the film by critic Richard Combs,
including an analysis of the film’s
timekeeping; and On The Wayne, an article
by Carl Foreman originally published in
Punch Magazine in 1974
