When High Noon begins, Will Kane, who has served as the marshal of Hadleyville for many years, is about to marry the beautiful Amy Fowler and ride off into the sunset. However, as he is turning in his badge, he learns that a man he put in prison has been unexpectedly freed.  He is arriving on the noon train and three of his associates are already waiting for him.  The new marshal does not arrive until tomorrow and the villain and his men have vowed to kill the marshal.    With two hours to prepare or run, what will he do?

Amy is a Quaker and does not believe in violence, one of the reasons he was about to turn in his badge. Deputy Harvey Pell is angry because he expected to become the new marshal but did not receive Kane’s recommendation for the job. The rest of the town is sympathetic but does not want trouble. He is urged to run but he knows the villain will simply follow him.  In the end, no one stands with him including his new bride who is about to board the departing train and leave him to his fate.

High Noon is much more than one of the best westerns ever made.  It is a film that transcends the western genre.  The story of a hero standing alone against impossible odds could take place in almost any time and any setting. 

Much has been made of the political message of High Noon. Certainly, producer Stanley Kramer became famous for films with liberal messages. When seen in the light of the ongoing anti-Communist investigations, it is easy to see the film as a statement against the witch hunts and in favor of standing up for what’s right in spite of the pressure and regardless of the consequences. However, it is also possible to see High Noon in a way that appeals to conservatives. That message would be something like “We ran the bad guys out of town five years ago (World War II) and now they’re back (The Korean War). Who is going to join me in standing up to them?” When Will Kane throws his badge down in disgust at the end, it could be seen as an anti-American act or a pro-American act. Is Kane saying “Go to Hell, America, if you can’t stand up for what’s right” or “Go to Hell, World, if you cannot stand with us against evil.” 

It is unlikely that producer Stanley Kramer or screenwriter Carl Foreman saw the film as having conflicting messages, but this may explain the almost universal appeal of the film and its enduring popularity. It may also explain why political figures as different as Ronald Reagan and Bill Clinton cited it as among their favorite films.

High Noon is a classic of black and white filmmaking.  Most high-profile westerns with big stars were being shot in color by 1951 but High Noon was shot in black and white.  There is a starkness to the black and white shooting that seems perfect for the film. There is also a subtle feeling that this is a B movie and should not be as good as it is.  Director Fred Zinneman wanted the film to appear like a newsreel of the time, if they had existed.  You can see this in the lighting at various points in the film.   Many black and white films appear overly lit. In High Noon, you will notice deep shadows and a more natural style of lighting. It is a film that looks older than 1951 but feels younger. 

High Noon is a film that has been copied ever since it was released. The use of clocks to count down the minutes until the final showdown is a device that has been used by many films and television shows. It gives High Noon a sense of occurring in real time and warns us how little time Will Kane has left. What would the television classic 24 be without the counting clock?  The film spawned several remakes and influenced countless other films. You can see a little bit of Will Kane as Obi Wan faces down Darth Vader in Star Wars and when Sigourney Weaver singlehandedly takes on the alien hive in Aliens. 

High Noon is as good today as the day it was released. It is one of the best westerns and one of the best films ever made. It has universal appeal even seventy years later.