High Noon (1952)

Calificación de los usuarios:

8.3/10   

Director:

Fred Zinnemann

Escritores:

Carl Foreman (screenplay)
John W. Cunningham (magazine story "The Tin Star")

Fecha de Lanzamiento:

30 julio 1952 (USA)

Género:

Drama | Del Oeste

Frase comercial:

Simple. Powerful. Unforgettable.

Plot:

A marshall, personally compelled to face a returning deadly enemy, finds that his own town refuses to help him.

Plot Keywords:

Revenge | Wedding | Badge | 1880s | Famous Score

Premios:

Won 4 Oscars. Another 11 wins & 8 nominations

Comentarios de los usuarios:

A Man Who Won't Run Away

Reparto

Gary Cooper	...	Marshal Will Kane
Thomas Mitchell	...	Mayor Jonas Henderson
Lloyd Bridges	...	Deputy Marshal Harvey Pell
Katy Jurado	...	Helen Ramírez
Grace Kelly	...	Amy Fowler Kane
Otto Kruger	...	Judge Percy Mettrick
Lon Chaney Jr.	...	Martin Howe (as Lon Chaney)
Harry Morgan	...	Sam Fuller (as Henry Morgan)
Ian MacDonald	...	Frank Miller
Eve McVeagh	...	Mildred Fuller
Morgan Farley	...	Dr. Mahin - Minister
Harry Shannon	...	Cooper
Lee Van Cleef	...	Jack Colby
Robert J. Wilke	...	Jim Pierce (as Robert Wilke)
Sheb Wooley	...	Ben Miller
listado alfabético del resto del reparto:
Lee Aaker	...	Boy (uncredited)
Guy Beach	...	Fred - Coffinmaker (uncredited)
Jeanne Blackford	...	Mrs. Henderson (uncredited)
Larry J. Blake	...	Gillis - Saloon Owner (uncredited)
Roy Bucko	...	Barfly (uncredited)
Bob Carson	...	Barfly (uncredited)
Howland Chamberlain	...	Hotel Clerk (uncredited)
Virginia Christine	...	Mrs. Simpson (uncredited)
Cliff Clark	...	Ed Weaver (uncredited)
Ben Corbett	...	Townsman (uncredited)
John Doucette	...	Trumbull (uncredited)
Paul Dubov	...	Scott (uncredited)
Jack Elam	...	Charlie - Drunk in Jail (uncredited)
Dick Elliott	...	Kibbee (uncredited)
Virginia Farmer	...	Mrs. Fletcher (uncredited)
Tim Graham	...	Sawyer (uncredited)
Tom Greenway	...	Ezra (uncredited)
Harry Harvey	...	Coy (uncredited)
Chuck Hayward	...	Townsman (uncredited)
Chubby Johnson	...	First Old Timer on Hotel Porch (uncredited)
Nolan Leary	...	Lewis (uncredited)
Tom London	...	Sam (uncredited)
Merrill McCormick	...	Fletcher (uncredited)
James Millican	...	Deputy Sheriff Herb Baker (uncredited)
William Newell	...	Jimmy - Drunk with Eye Patch (uncredited)
William 'Bill' Phillips	...	Barber (uncredited)
Lucien Prival	...	Joe - Ramirez Saloon Bartender (uncredited)
Ralph Reed	...	Johnny - Town Boy (uncredited)
Syd Saylor	...	Second Old Timer on Hotel Porch (uncredited)
Ted Stanhope	...	Station Master (uncredited)

Dirigida por
Fred Zinnemann

Créditos del guión
Carl Foreman		(screenplay)
John W. Cunningham		(magazine story "The Tin Star")

Producida por
Carl Foreman	....	associate producer (uncredited)
Stanley Kramer	....	producer (uncredited)

Música original por
Dimitri Tiomkin

Fotografía por
Floyd Crosby		(director of photography)

Montaje por
Elmo Williams

Casting
Jack Murton		(uncredited)

Diseño de producción por
Rudolph Sternad

Dirección artística
Ben Hayne

Decorados
Murray Waite

Departamento de maquillaje
Louise Miehle	....	hair stylist
Gustaf Norin	....	makeup artist

Dirección de producción
Clem Beauchamp	....	production supervisor
Percy Ikerd	....	unit manager

Ayudante de dirección
Emmett Emerson	....	assistant director

Departamento de sonido
Jean L. Speak	....	sound engineer (as Jean Speak)
John Speak	....	sound (uncredited)

Efectos especiales
Willis Cook	....	special effects (uncredited)

Especialistas
Regis Parton	....	stunts (uncredited)
Slim Talbot	....	stunt double (uncredited)
Don Turner	....	stunts (uncredited)
Jack N. Young	....	stunts (uncredited)

Cámara y Departamento Eléctrico
Morris Rosen	....	head grip
Homer Plannette	....	gaffer (uncredited)

Departamento de vestuario
Joe King	....	wardrobe: men
Ann Peck	....	wardrobe: women

Departamento de Edición
Harry W. Gerstad	....	editorial supervisor (as Harry Gerstad)

Departamento de Música
George C. Emick	....	music editor (as George Emick)
Dimitri Tiomkin	....	musical director
Manuel Emanuel	....	orchestrator (uncredited)
Anthony Galla-Rini	....	musician: accordions (uncredited)
Paul Marquardt	....	orchestrator (uncredited)
Herbert Taylor	....	orchestrator (uncredited)

Otros miembros del equipo
Sam Freedle	....	script clerk
Sally Hamilton	....	executive secretary (uncredited)
Nina Moise	....	dialogue director (uncredited)
Fred Polangin	....	merchandising director (uncredited)
Len Simpson	....	publicity director (uncredited)
Calvin Spencer	....	double: Lloyd Bridges (uncredited)

Compañías Productores

• Stanley Kramer Productions

Distribuidores

• United Artists (1952) (USA) (theatrical)
• United Artists (1953) (West Germany) (theatrical)
• Lions Gate Films Home Entertainment (1992) (USA) (VHS)
• United Artists (1956) (USA) (theatrical) (re-release)
• Constantin Film (1960) (West Germany) (theatrical) (re-release)
• Republic Pictures Home Video (1992) (USA) (VHS)
• Republic Pictures Home Video (1997) (USA) (VHS)
• Republic Pictures Home Video (1998) (USA) (DVD)
• Republic Pictures Home Video (1998) (USA) (VHS)
• Kinowelt Home Entertainment (1999) (Germany) (DVD)
• Universal Pictures (2001) (UK) (DVD)
• VellaVisión (2002) (Spain) (DVD)
• Paramount Home Entertainment (2004) (Netherlands) (DVD)
• Maple Pictures (2006) (Canada) (DVD)
• Artisan Entertainment (2002) (USA) (DVD)
• Chapel Distribution (1997) (Australia) (theatrical) (16mm print)
• Criterion Collection, The (19??) (USA) (video) (laserdisc)
• Emerald (2007) (Argentina) (DVD)
• Kinowelt Home Entertainment (2008) (Germany) (DVD) (special edition)
• Republic Pictures Home Video (19??) (Brazil) (VHS)

Otras Compañías

• Sound Services  magnetic recording
• Stanley Kramer Productions  current owner

También conocida como:

A la hora señalada (Argentina) [es]
Solo ante el peligro (Spain) [es]

Duración:

85 min

País:

USA

Idioma:

Inglés | Español

Color:

Negro y Blanco

Relación de Aspecto:

1.37 : 1

Sonido:

Mono (Western Electric Recording)

Clasificación:

Canada:G (Nova Scotia/Quebec) | Canada:PG (Ontario) | Canada:G (Manitoba) | Iceland:L | South Korea:15 | Germany:12 (DVD rating) | West Germany:12 (f) | USA:Passed (National Board of Review) | Argentina:Atp | Australia:PG | Finland:K-16 | Norway:16 (original rating) | Spain:13 | Sweden:11 (re-release) | Sweden:15 | UK:U | USA:Approved (PCA #15653)

Locaciones de Filmación:

Burbank, California, USA

Compañía:

Stanley Kramer Productions

Trivialidades:

"Do Not Forsake Me, Oh, My Darlin'" was the first Oscar-winning song from a non-musical film.

Errores:

Continuidad: While walking around in the city looking for help, Will Kane's vest alternately opens and closes between cuts.

Citas:

Martin: You risk your skin catching killers and the juries turn them loose so they can come back and shoot at you again. If you're honest you're poor your whole life and in the end you wind up dying all alone on some dirty street. For what? For nothing. For a tin star.

Conexiones de Película:

Referenced in "The Prisoner: Do Not Forsake Me, Oh My Darling (#1.12)" (1968)

Banda de Sonido:

High Noon

A Man Who Won't Run Away

For me, Will Kane embodies the American ideal of a hero: a man who stands up for what is right, even when nobody else does, even when the temptation is strong to stick the head in the sand.

Will Kane explains his outlook at the outset: there is no point in running away if that means spending the rest of your life watching your back. His best chance is to face his enemies on his home ground. At this point, he still thinks that honest folk will stand by him. The rest of the movie is a study in character: will he stand his ground when his entire world crumbles around him?

It is puzzling that Howard Hawks, John Wayne, and others thought of High Noon as un-American. I am not sure if this is because of the allegory of the McCarthy era; or the people of an American town collectively sticking their heads in the sand; or the Marshal throwing his badge to the ground in the last scene.

Clearly, the movie does not criticize McCarthyism itself. (It has nothing to say about communism, either.) It appears to criticize the people who did not stand up to McCarthy and the HUAAC, but it can equally well be seen as a comment on the appeasers who did not stand up to fascism or communism.

In any case, not too much must be made of the anti-appeasement angle, because the townsfolk is not the primary focus of the movie: the focus is on Will Kane. When the townsfolk behave like cowards, that gives Will Kane a chance to prove that he is a hero. If the town had stood by the Marshal, we would have seen, at best, an excellent Western like Rio Bravo, but not a masterpiece like High Noon. For Will Kane to be a hero, it is necessary that he stands alone.

No statement can convey the dramatic impact of Will Kane throwing his badge away, but it is worth discussing what this gesture means. For me, it means that the town and the badge were not worth fighting for. Will Kane fought for principle: he fought because he does not run away.