High Noon

I was originally going to pass on watching this one, until I saw in the commercial that the climactic gunfights were filmed in Saving Private Ryan-O-Vision. (I know of no other way to describe this distinctive look--which I realize has been used well before Saving Private Ryan was ever released--and if anyone know how this style is achieved, please contact me via e-mail.) I'm kind of a sucker for that particular technique, so I figured I'd give it a try. Having seen the original only a couple days beforehand, I was fully prepared to be able to pick it apart like crazy.

I was immediately stricken by the opening shot. The silhouettes of Frank Miller's gang against the desert sky was a beautiful image that impressed me right out of the gate. Unfortunately, it became all too apparent that it was made for television, using the many simple, money-saving camera techniques seen in many made-for-TV movies. Aside from that, something just seemed missing from this film, and I just can't put my finger on it. It didn't have the spirit of the original film, nor did it involve me emotionally as the 1952 version did. The aforementioned gunfights were very well-filmed, and a tad bit more exciting than the original, but due to the emotional content, they were much less engaging. Still, though, it was an enjoyable movie.

There is nothing to Say for this film. This is a pathetic , not even appreciated effort to create a replica of an old story and a silver screen success of past giants such as actor G.C and director F.Z . Ther is not much to comment about the acting, either- this one is certainly lifeless. Had not the original 1953 version been made and this one was the first to be created with the same title and plot,no impact would even be made on movie goers (or TV observers in this case). It lacks in-depth struggle between the good and the bad, the personal dilemma's the 1953 contained and leaves absolutely no social message....waste of time, switch over to the next channel...

This is a 2000 made-for-TV remake of the 1952 classic Western with Tom Skerritt in the Gary Cooper role. Both films are based on the novel "The Tin Star" by John W. Cunningham.

Skerritt plays just-retired, just-married Marshal Will Kane. He and his bride are informed that a man Kane put in the slammer years ago has been paroled; this owlhoot swore he'd kill Kane when he got out and he's coming in on the noon train. His henchmen are even waiting for him at the train station. Kane and his bride are encouraged to flee for their lives and start their new life together. Why not? -- he's not even a sheriff anymore. But the new Marshal won't arrive for another day or so and something in Kane prevents him from running like a cur with his tail between his legs. He has about an hour and fifteen minutes to marshal up help to make a stand. In addition to all this, his wife is a Quaker who doesn't believe in violence and threatens to leave him if he insists on staying and fighting.

One interesting facet of this Western is that the story plays out in real time. The film runs 88 minutes and Marshal Kane has just over an hour to prepare for the confrontation.

Skerritt does a good job depicting an aging man who is about to face a fight-to-the-death, most likely alone. I'm sure Marshal Kane has better things to do, like enjoy his honeymoon with his beautiful wife (Sussanna Thompson), but his manhood and sense of duty force him to courageously make a stand. This reminds me of times back in High School where I was scheduled to fight someone (after school or whatever). I knew at such-and-such time I was going to face so-and-so and a bunch of people would be watching. The anticipation wasn't fun but my manhood wouldn't let me back down. Of course there's no comparison since Marshal Kane is anticipating a gunfight wherein he could very likely die, not a mere fistfight, but if the anticipation before a fistfight is intense, how much more so a gunfight?

Some criticize the story of "High Noon" on the grounds that it makes the citizens of the average Western town out to be a bunch of cowards but, really, there are no less than four people who are willing to help the Marshal. Many of the others who decline have valid reasons for staying out of the fracas, although some are just plain yella.

Since Kane's new wife is a Quaker the film brings up the idea of total pacifism. While the idea is attractive and I understand her reasoning, total pacifism does not work in this present world. The New Testament does not support the idea of absolute pacifism. It teaches, rather, that pacifism is proper in certain situations and not in others. Jesus' ministry team had a treasury box with loads of money and some of his workers carried swords for protection from thieves and murderers. Also, Romans 13 clearly states that the righteous laws of human governments are God-ordained for the purpose of punishing criminals, including the right to execute when appropriate. Even in cases where pacifism is called for a disciple is not to idly sit on his/her rump but to fight on a spiritual level and overcome evil with good. The vast majority of sane Christians realize this, but there are a few extremists who refuse to be BALANCED with the Scriptures on this subject and insist that conflict and especially armed conflict is NEVER appropriate. Kane's wife in the film is such a person, but perhaps she'll discover the error of her beliefs. In any case, "High Noon" makes an important point: Some people are so morally degenerate and evil that execution is the only just ultimate reaction (notice I said "ultimate").

There are quite a few good parts, e.g. Kane's brief talk with the wife of a coward, the church scene and, of course, the ending gunfight.

As for comparisons to the original film, I have no bias or nostalgia. It's been years since I saw it (the '52 version) so it's not fresh in my memory, but I don't see how this remake pales in comparison as many of the reviewers here contend. This rendition is in color, has a good score, good actors and locations (CL Ranch, Calgary, Alberta). What more do you want? It may not have the cinematic pizazz of modern Theatrical Westerns but, if given the choice between the two, I'd probably choose Skerritt's version over the original. Besides, I loathe black & white.

So, why not a higher rating? Despite the story's potential and the anticipation of the gunfight, something prevents "High Noon" (both versions) from being truly captivating. In fact, it almost has a laid-back vibe. Needless to say, those with ADHD should avoid like the plague. Don't get me wrong, I love great drama and intelligent dialogue-driven stories but something needed done to make it a bit more engrossing and emotionally stirring. Still, this is a very worthwhile Western.

GRADE: B

Sometimes, a remake can be as good, or better than an original. The 1997 version of Titanic was award winning and the 1998 remake of Les Miserables was outstanding. But, I'm sorry to say that's not so with the TBS, made for television, version of High Noon.

Alright, so I grew up on the original -- but, it's still a classic!

I will admit that in the remake, some of the characters played their roles admirably: Tom Skerritt portrayed a viable Will Kane and Maria Conchita Alonso was superior as Mrs. Ramirez. Even Dennis Weaver was credible as Martin Howe, but I never felt for him and his circumstances the way I felt for Lon Chaney Jr. in the 1952 version. In fact, throughout the entire program, I never got to where I really cared for the characters as I did in the original.

Advance P.R. in the television guides said that the producers wanted a more "vicious" villain, and so cast Michael Madsen as Frank Miller. But, Madsen looks and acts more like Broderick Crawford in "The Highway Patrol" TV series than a villain in the old west. His twin nickel (or chrome) plated Remington revolvers did nothing to enhance the role for him.

In the 1952 version, Fred Zinnemann used a crane to back off and show the loneliness of Kane as he goes about the task before him. The director of the 2000 remake tries to do the same thing, but the effect is no where as dramatic. Something is missing.

In the final scene in the 1952 original, you can see Kane's contempt for the town on the face of Gary Cooper -- contempt for having been left alone, and abandoned. That emotion was totally lacking in the remake and so the ending is almost anti-climactic.

To "remake" any picture is tough. However, to remake a such a classic Western feature for television is a brave assignment. The filmmakers should be commended for staying with the story line, not trying to "hip it up" and pulling off what so many other filmmakers have missed... a wonderfully updated version of an original that's worthy (of the original picture) as well as entertaining. In some ways this "remake" was better than the original. The photography was beautiful, the cast convincing and the direction never let us wander. Congratulations on the recreation of a wonderful classic.