- High Noon is an interesting genre-defying Western that takes place in approximate real time, as the shots of ticking clocks constantly remind us. As the film opens, some poorly-shaven outlaws stroll into town just as Sheriff Will Kane (Gary Cooper) marries Amy Fowler (Grace Kelly). The newlyweds' honeymoon is cut short, however, with the news that vengeful outlaw Frank Miller has been paroled and that his former gang is waiting for him at the train station. Everybody tries to convince Kane to leave town, but he is determined to face Miller and tries unsuccessfully to enlist some help.
- The obvious defining aspect of High Noon is that the townspeople find excuses not to assist Kane. While the film never takes the subtle approach, I think it makes a good point about the difference between intentions and actions, particularly through the variety of reasons citizens cite for not helping Kane. Some of the townspeople are no good and some of them are cowards, but some are well-intentioned people who simply manage to talk themselves out of doing anything. What's more is that people like the deputy (Lloyd Bridges) actually get angry at Kane for staying, presumably because he is showing them up. Oddly enough, the only person who instantly admires Kane's choice is his former lover, Helen Ramirez (Katy Jurado), who is on her own way out of town. Even his wife Amy intends to leave with Helen to protest Kane's decision, although she has a redemptive change of heart at the end.
- Amusingly, Miller is the only character to fulfill everyone's expectations of him by showing up at the end to kill Kane. As the opening song predicted, Kane only leaves town after shooting Frank Miller dead (although the song neglects to mention Amy's help). After the impressive gunfight, we are left with the stark image of Kane tossing away his badge in disgust. Since much has already been made of this film as an indictment against those who were complicit in Hollywood blacklisting, I'll end by wondering how many who watched it with that in mind thought that they were Kane. I think the director's point is that most of us are not.
- This was Lee Van Cleef's first film and Grace Kelly's second.
