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Editorial Reviews
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A small western town, sometime in the late 19th century. Will Kane, an aging sheriff about to retire, hears that a dangerous outlaw whom he put away is now on parole. The outlaw is heading for the town, accompanied by his henchmen and looking for revenge. One by one, Kane's supporters, friends, and sweetheart abandon him, leaving him to stand alone, waiting for the showdown at high noon.
A small western town, sometime in the late 19th century. Will Kane, an aging sheriff about to retire, hears that a dangerous outlaw whom he put away is now on parole. The outlaw is heading for the town, accompanied by his henchmen and looking for revenge. One by one, Kane's supporters, friends, and sweetheart abandon him, leaving him to stand alone, waiting for the showdown at high noon.
This is the stuff western myths--and great films--are made of. In his book, Phillip Drummond tells you everything you always wanted to know about High Noon (1952), one of the finest westerns ever made. You'll read background information on the movie's producer, director, and writers. You'll learn about the popularity and persona of star Gary Cooper. You'll meet Grace Kelly, an ingenue making her film debut. You'll encounter "The Tin Star," the short story upon which the film was based, and discover the differences between that tale and the film. You'll also hear about the subplot initially intended to accompany the story of Will Kane, which was cut from the final product. You'll ponder the ethics and morality of High Noon, "and their intersection with the social world of citizens of law and order--themes which ... draw the film out of the fifties and project a longer and more complex vision of the cultural and ideological role of popular cinema." --Raphael Shargel
Product Description
Illustrated Made in 1951, High Noon rapidly became one of the most celebrated and controversial Hollywood dramas of the postwar period. A grave, taut western about community and violence, High Noon collected a clutch of Oscars, helped to re-establish the dwindling fortunes of its star, Gary Cooper, and confirmed the stature of director Fred Zinnemann and producer Stanley Kramer. The film was also a flashpoint for the conflict between the U.S. film industry and McCarthyite anti-Communist: writer and associate producer Carl Foreman was hounded off the production and blacklisted. Phillip Drummond offers a detailed account of High Noon's troubled production and its early public reception, along with career summaries of the key participants. He analyzes the dramatic organization of the film with close reference to the original short story and Carl Foreman's script, and concludes with an invaluable overview of the long history of critical debates, focusing on questions of social identity and gender.The result is a fresh, nuanced reading of a major classic.
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Inside This Book
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First Sentence:
As a particular kind of Hollywood text, it is marked by its relationship to the changing cinematic conditions of the early 1950s, and by the Cold War politics which find a variety of parallels in the film's plot and led directly to the sacrifice of its screenwriter amid the frenzied witch-hunts of the HOUSE COMMITTEE on Un-American Activities (HUAC). Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
tin star, western genre Key Phrases - Capitalized Phrases (CAPs): (learn more)
High Noon, Helen Ramirez, New York, Frank Miller, Harvey Pell, United Artists, Will Kane, The Men, Gary Cooper, Dimitri Tiomkin, Fred Zinnemann, The Greatest Show, Blowing Wild, Carl Foreman, Civil War, Grace Kelly, Gregory Peck, Hollywood Reporter, John Wayne, Rio Bravo, Bright Leaf, Edward Dmytryk, James Stewart, John Cunningham, Motion Picture Herald New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Back Cover | Surprise Me!
As a particular kind of Hollywood text, it is marked by its relationship to the changing cinematic conditions of the early 1950s, and by the Cold War politics which find a variety of parallels in the film's plot and led directly to the sacrifice of its screenwriter amid the frenzied witch-hunts of the HOUSE COMMITTEE on Un-American Activities (HUAC). Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
tin star, western genre Key Phrases - Capitalized Phrases (CAPs): (learn more)
High Noon, Helen Ramirez, New York, Frank Miller, Harvey Pell, United Artists, Will Kane, The Men, Gary Cooper, Dimitri Tiomkin, Fred Zinnemann, The Greatest Show, Blowing Wild, Carl Foreman, Civil War, Grace Kelly, Gregory Peck, Hollywood Reporter, John Wayne, Rio Bravo, Bright Leaf, Edward Dmytryk, James Stewart, John Cunningham, Motion Picture Herald New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Back Cover | Surprise Me!
Citations (learn more)
This book cites 83
books:
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24
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- High Noon (VHS) by Gary Cooper on 23 pages
- Gary Cooper by Rh Value Publishing in Back Matter (1), Back Matter (2), and Back Matter (3)
- High Noon (Short Story Index Reprint Series) by Alice Brown on page 5, Back Matter (1), and Back Matter (2)
- Film Scripts Two by George P. Garrett in Back Matter (1), and Back Matter (2)
- City of Nets: Portrait of Hollywood in the 1940's by Otto Friedrich in Back Matter (1), and Back Matter (2)
See all 83 books this book cites
- From Shane to Kill Bill: Rethinking the Western (New Approaches to Film Genre) by Patrick McGee on page 114, page 130, and Back Matter
- From Shane to Kill Bill: Rethinking the Western (New Approaches to Film Genre) by Patrick McGee on page 114, page 130, and Back Matter
- Congressional Theatre: Dramatizing McCarthyism on Stage, Film, and Television (Cambridge Studies in American Theatre and Drama) by Brenda Murphy in Back Matter (1), and Back Matter (2)
- M (BFI Film Classics) by Anton Kaes in Back Matter
- Good Scripts, Bad Scripts: Learning the Craft of Screenwriting Through 25 of the Best and Worst Films in Hi story by Tom Pope on page 27
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