Passed
1952    85 minWestern, Dramat
7.994%89%7.7
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Rok 1870. Szeryf miasteczka Hadleyville, Will Kane, bierze ślub z uroczą Amy. Na jej prośbę planuje porzucić niebezpieczne zajęcie i przeprowadzić się do innego miasteczka. Tymczasem do miejscowości dociera wiadomość o ułaskawieniu i wyjściu na wolność Franka Millera, którego bandę Kane rozbił 5 lat wcześniej. Groźny przestępca przyjeżdża pociągiem, który ma dotrzeć na stację w samo południe.
Directed by Fred Zinnemann
  • Gary CooperMarshal Will Kane
  • Thomas MitchellMayor Jonas Henderson
  • Lloyd BridgesDeputy Marshal Harvey Pell
  • Katy JuradoHelen Ramírez
  • Grace KellyAmy Fowler Kane
  • Otto KrugerJudge Percy Mettrick
  • Lon Chaney Jr.Martin Howe
  • Harry MorganSam Fuller
  • Ian MacDonaldFrank Miller
  • Eve McVeaghMildred Fuller
  • Morgan FarleyDr. Mahin
  • Harry ShannonCooper
  • Lee Van CleefJack Colby
  • Robert J. WilkeJim Pierce
  • Sheb WooleyBen Miller
  • Lee AakerBoy (uncredited)
  • Ernest BaldwinTownsman (uncredited)
  • Benjie BancroftChurch Member (uncredited)
  • Guy BeachFred - Coffinmaker (uncredited)
  • George BellTownsman (uncredited)
  • Razorbitz22 lutego 2025
    An early masterwork of tension with no time to spare for pleasantries. High Noon is the style of film I wish would see a return in the current century; barely over an hour and here to punch you in the teeth. You'll thank them for later. While I have no real nostalgia for westerns, this is one that works on a taut script and wastes no words on setting stakes and delivering upon them in an ever climbing roll of stakes as the titular hour approaches. Much of the thematic elements it explores aren't lost on me, but this film has been discussed for near a century now and I don't dare try to put my amateur analysis to this classic; only that it should be watched and explored like any film deserving of its centenial appreciation. Even if you are averse to any of its tin plate elements or this general era of cinema, this one shouldn't be missed if you have any appreciation at all for the craft. The art of brevity is lost on most filmmakers these days; High Noon is a great example as to why the art should be relearned.

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