High Noon
Regie:
Fred ZinnemannDrehbuch:
Carl ForemanKamera:
Floyd CrosbyMusik:
Dimitri TiomkinBesetzung:
Gary Cooper, Thomas Mitchell, Lloyd Bridges, Katy Jurado, Gracia Patricia, Otto Kruger, Lon Chaney Jr., Harry Morgan, Ian MacDonald, Harry Shannon (mehr)Inhalte(1)
Marshal Will Kane hat in der Quäkerin Amy die Frau fürs Leben gefunden. Da ihre Religion jede Form von Gewalt verbietet, will er seinen Job nach der Hochzeit an den Nagel hängen. Dann aber erfährt er am Tag der Trauung, dass der Gangster Frank Miller, den er einst ins Gefängnis brachte, auf dem Weg in die Stadt ist. Am Bahnhof wird der Revolverheld bereits von seinen Kompagnons erwartet. Kane ist überzeugt, dass die Banditen sich an ihm rächen wollen. Obwohl Amy und die Bürger der Stadt ihn zur Flucht drängen, will der Gesetzeshüter sich nicht verstecken. Da jedoch niemand den Mut hat, ihm gegen die Banditen beizustehen, nimmt Kane den Kampf alleine auf. (ARD)
(mehr)Kritiken (6)
Zinnemann's approach to the classic western subject matter differs in many ways from the classic scheme of the intrepid hero standing steadfast against the odds. His viewpoint is (like Leone's) strongly European, and thus Gary Cooper spends most of the film trying to get help to settle the score with the killers, rather than polishing his gun and waiting for the climax. Yet this gives the plot a much more human and believable dimension, solidly countered by the storyline with the newlywed played by the amazing Grace Kelly. The flawlessly written characters have clear reasons for their behavior. Especially the gradual falling away of "good old friends" (family, fear for their lives, cowardice) is portrayed wonderfully, and when you add to that the nervous countdown of less than an hour, it must be clear to everyone that this film is definitely one of the best!
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“Waiting for Godot” in (anti)western guise, which despite my fondness for this genre never appealed to me. Gary Cooper may be excellent, but out of this parade of "weak" characters, I can only trust Chaney to act.
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Many classic westerns have long since fallen into oblivion, but Zinnemann's film can be considered a classic that rightfully belongs in the golden treasury of world cinema. This western transcends its genre boundaries and moves more into the realm of psychological drama. It is a study of human nature, fear, courage, and responsibility. A dangerous criminal is released from prison, and his comrades rejoice and expect the return of old orders, the rule of violence and intimidation. The "decent" citizens are afraid and some consider leaving. Only one inhabitant of the town is prepared to defend himself and tries to awaken a collective spirit of resistance in others. In the film, you will experience far more dialogue than panoramic shots of the wilderness or bloody shootouts. Some fans of westerns have a problem with this film precisely because of the absence of the usual genre clichés, but I consider it a remarkable example of film craftsmanship. High Noon is interesting in that it takes place in real time, and as you watch the moving hands on the clock, the tension escalates, and everything is permeated with a sense of inevitability. The direction is interesting in other ways as well. Zinnemann wanted the film to look like a classic newsreel at first glance, with grainy images and inferior lighting. Again, there are those who find this spoils their idea of a movie spectacle, but I have no hesitation in awarding it an overall impression of 85%, with the caveat that I am not a fan of westerns. Otherwise, I would give it a fifth star.
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Ein reiner Genrefilm, bei dem alles wie am Schnürchen läuft. Er spielt praktisch in Echtzeit zwischen zwei Schlüsselereignissen im Leben von Sheriff Kane (ein großartiger reifer Coop). Während er kurz vor Mittag heiratet (die Porzellanpuppe Grace Kelly) und seinen Blechstern ablegt, kommt sein Erzfeind mittags mit dem Zug an und fordert ihn zu einem Duell heraus. Die ganze Stadt weigert sich, ein Risiko einzugehen, und Kane sieht sich mittags seinem Erzfeind gegenüber... Der Film basiert auf der Kurzgeschichte "Stern des Gesetzes" aus dem Jahr 1947.
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One of the most iconic classic westerns is, unfortunately for me, an example of how cinematic narrative formulas and techniques have evolved in the ensuing years, thanks largely to Leone's "spaghetti" work. I appreciate the idea and the straightforwardness of the plot, which communicates the desired sense of hopelessness and confusion of the main character, but the story is so naive and, given the machine-like villain behaviour of the vast majority of the secondary characters, also unrealistic, that it would have to literally knock me off my feet with its form and atmosphere to stand up qualitatively. At the time of its release, it would probably have succeeded, but today it has lost ground and is limping along.
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Real-time and a duel of gunmen. That's actually almost it. The foundation of the recipe for success. Of course, it's not that simple, but the film is simply a beautiful demonstration of how a relatively simple idea and people's actions can be enough. If Gary Cooper hadn't been so honorable, he would have shot everyone in the end.
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