This one requires patience - but it's 100% worth it.
Of whatever else it might claim, the one thing broadly lacking in the western genre is an infusion of horror; any iterations we have gotten over time tend to be rather stylized. I'm ever so pleased to have discovered 'Black Noon,' and more so because it carries the same sensibilities about its root genre as its contemporaries. The production design, art direction, costume design, hair and makeup work, props and weapons, and even stunts and effects all bear the unmistakable, gratifying look and feel we'd want out of a Wild West period film from the 60s or 70s. The set and wardrobe pieces could just as easily have been borrowed from or lent to other titles at the time. At even the most basic level this is well made and enticing - and more than that, for as very smartly as it incorporates the horror, it's absolutely fantastic.
Andrew J. Fenady's screenplay very much emphasizes the western element for the majority of the length. The characters and dialogue, and much of the (early) narrative and scene writing, could fit handily into other such works in the same manner as the visuals. The horror in 'Black Noon' is woven in gradually, at first more flavor than anything. We certainly get more as the length progresses - and despite the manifestation of the most sharp and immediate instances we see, the preponderance is profoundly subtle, almost more thematic than actual. One way or another, one can discern a kinship with other tales of supernatural horror that we've seen over the years, though of course any familiarity is no inherent mark against this rendition. To the credit of Fenady and director Bernard L. Kowalski, this aspect is written and executed extremely well, with far more intelligence and dexterity than first presents. More "fun-scary" than genuinely fearsome, every serving is nonetheless welcome, and delicious, as we only ever get more of it.
To say that this was orchestrated with a delicate hand and careful attention is a laughable understatement. As we first begin to watch there are several idiosyncrasies in the production that come off as distinct shortcomings. Pacing seems slow, plot seems unexpectedly light; one character spotlighted early on seems to vanish; the acting does not readily inspire. I'm sure I'm not the only person to have ever watched this and spent a fair bit of time wondering when the plot was going to meaningfully show up. Yet this is where 'Black Noon' most robustly shows its strength, for every apparent fault is in time turned on its head and revealed to be part and parcel to the fabric of the tale being woven. Some films give viewers plot threads that are red herrings; this gives us red herrings in the fundamental craft of the picture. From start to finish the storytelling is wonderfully nuanced, and even underhanded; there comes a point where it concretely clicks for the viewer just what the picture has been doing all along, and one's entire perspective changes. I cannot rightly express just how brilliant 'Black Noon' is.
Everyone in the cast ultimately shines in the same pattern as the rest of the film, and the turnaround is magnificent. Appropriate for the narrative that we get, up until that shift it's Lynn Loring who most makes her mark as troubled Lorna Keyes. Hers is arguably the most demanding role of any in this flick, requiring adept range and physicality, and Loring completely sells it. Why, I humbly note that it's Loring's performance that helped key me into the sly nature and real intent of 'Black Noon,' as a prominent late scene finds her imparting a critical bit of dialogue with a delivery that itself is plainly striking, and downright frightening.
It's one matter to watch a movie and be quietly astonished at just how tremendously good it is; it's another matter to watch a movie and have it fully upend what initial impression it had made. From an intriguing opening, through a slow and deliberate build, all the way to the devilishly satisfying ending, this is one title that outright took me by surprise. As rewarding as it may be to watch a feature that unreservedly moves you, one like this that pointedly plays with expectations is something else altogether. I cannot overstate what a joy this is, for the piecemeal crawl to the climax is clearly conjured by uncommonly keen creative capacity. Anyone seeking an acutely visceral horror flick will surely be disappointed, yet those receptive to wider possibilities of the genre are going to have a blast. One part classic Hollywood western, one part classic British horror, all surreptitious cunning: 'Black Noon' is a terrifically rewarding viewing experience that I can't recommend highly enough.
