More than perhaps any other genre, classic movies feel like they are historical artifacts – products of their time in just about every way. That’s certainly true of ’s iconic , which is an ode to the lone cowboy as protector. It’s the epitome of an underdog hero fighting back against the odds, soundtracked to the foreboding, mournful tune of Tex Ritter crooning the titular ballad.

That lone hero is Will Kane (, in an Oscar-winning performance), who finds his last day as town Marshal, and indeed the day of his wedding to Amy (), ruined by the news that a notorious criminal he once sent to hang has been pardoned and is on his way to the town. The villain’s acolytes have gathered at the station and are awaiting the train arriving at noon, triggering a race against time as Will aims to “raise a posse” of volunteers willing to stand with him when the bullets start to fly.

Western films often luxuriate in the passage of time – particularly the more epic ones – but economy is very much the order of the day when it comes to High Noon. The film unfolds in real-time over the course of the hour or so before the arrival of Frank Miller () and his murderous intentions. Cooper becomes increasingly haggard, frazzled and resigned to his fate as ally after ally refuses to help him in this particular endeavour. By the time a famous crane shot depicts him alone in the centre of a dusty street, loneliness has been established as the key theme.

High Noon

Of course, that loneliness came with a side order of politics when it first arrived in 1952. Screenwriter Carl Foreman and producer Stanley Kramer both had left-wing political leanings and so High Noon has been discussed as an allegory for McCarthyism and, specifically, the process of blacklisting of alleged Communists in Hollywood during the time of the film’s production. Indeed, Foreman was called before the House Un-American Activities Committee. In that reading of the story, Cooper’s character is the alleged Communist and the townspeople are Hollywood, refusing to step up and protect him against a powerful, formidable foe.

At its heart, though, High Noon is a very simple story of a man forced to confront the demons of his past without any support. Notably, it’s his wife – played with wide-eyed energy by Kelly who, disappointingly, was almost 30 years younger than her on-screen husband – who does come to his aid in a final scene that, famously, made John Wayne – the original choice for Cooper’s role – rather angry, as well as the political subtext. Between Kelly’s character and Will’s determined former lover, Helen Ramírez (), this is a surprisingly strong film for female characters, given its release date.

High Noon

Unfortunately, when High Noon does wind its way towards its climax, it’s all a little disappointing. The shootout itself is a little leaden given the amount of build-up, particularly given the delightfully melodramatic hysteria of the way people talk about Miller, who ultimately proves to be something of a damp squib. High Noon certainly looks excellent in its new Blu-ray transfer and its status as a classic is already assured, but it’s more interesting today for its political context than for its straightforward entertainment value.

Dir: Fred Zinnemann

Scr: Carl Foreman

Cast: Gary Cooper, Grace Kelly, , , Katy Jurado, Ian MacDonald, ., , ,

Prd: Stanley Kramer

DOP: Floyd Crosby

Music: Dimitri Tiomkin

Country: USA

Year: 1952

Run time: 85 mins

High Noon is arriving on UK Blu-ray and DVD via on 16th September.