Based on the short story It Had to Be Murder by Cornell Woolrich, Rear Window is the story of a man with a broken leg who sits in his apartment watching his neighbors from the building across from him where he sees a murder happening. Directed by Alfred Hitchcock and screenplay by John Michael Hayes, the film is a look into a man who observes everything around him while he is forced to watch from afar where something sinister is happening. Starring James Stewart, Grace Kelly, Thelma Ritter, Wendell Corey, and Raymond Burr. Rear Window is an intoxicating and eerie film from Alfred Hitchcock.
Set in a New York City at an apartment complex in Greenwich Village, the film revolves around a photographer with a broken leg who observes the occupants at the apartment building from his rear window as he believes a murder has occurred. It’s a film that is about voyeurism but not in a creepy way as it’s more about a man’s curiosity of the world around him as he is stuck in a wheelchair with a broken leg that’s about to be fully healed in a week. Yet, he notices something is off as it relates to a neighbor living across the building from him as he turns to his girlfriend and a nurse for help as they realize that something isn’t right. John Michael Hayes’ screenplay is set mainly in this apartment area where the photographer L.B. “Jeff” Jeffries (James Stewart) is staying at where he would look out at his apartment window during a hot summer. There would be various individuals he would observe including a ballerina, a songwriter, a newlywed couple, a lonely woman, a couple with a dog, and a mysterious man with an ailing wife.
Jeffries would get frequent visits from his nurse Stella who works for an insurance company that pays for Jeffries’ work as a photographer as he had been injured on the job as she knows there’s trouble around. Also visiting Jeffries is his socialite girlfriend Lisa Fremont (Grace Kelly) who wants to marry him but he’s reluctant feeling she’s too perfect for him as she often arrives wearing fashionable and posh clothes as well as bring food that is expensive. The two women would eventually realize something isn’t right as well as notice a few things that are off including a flower bed as Jeffries even turn to his friend in the NYPD detective Tom Doyle (Wendell Corey) for help who isn’t sure that this man has done anything. Yet, a key event that other people from the building saw would force Jeffries to take matters into his own hands with help from Stella and Lisa.
Alfred Hitchcock’s direction is very stylish for the fact that it’s set entirely in this apartment complex in the middle of Greenwich Village where it never leaves that setting though it’s all mainly shot in a soundstage at Paramount Studios in Hollywood. Hitchcock’s usage of the wide shots have him capture what Jeffries is seeing from his window as there are some unique crane shots to capture ever occupant in the building and their activities. While Hitchcock would use some close-ups and medium shots in scenes at Jeffries’ apartment to play into his own life and the time he spends with Lisa. Hitchcock is more concerned with what Jeffries is seeing from his binoculars or his camera with a wide angle lens to get the scope of what is happening. Much of the film is shown from Jeffries’ point of view as there is never a close-up of the other residents except for the suspect in Lars Thorwald (Raymond Burr) who is unaware that he’s being seen until the third act. The element of suspense of whether Thorwald is really a killer or doing something else just adds to the intrigue where Stella and Lisa would make plans to see what Thorwald is hiding as the latter would go into his apartment. It would then lead to the unveiling of what is happening with Jeffries being confronted for his voyeuristic tendencies. Overall, Hitchcock creates a thrilling and evocative film about a man possibly witnessing a murder from his window.
Cinematographer Robert Burks does brilliant work with the film’s gorgeous Technicolor cinematography from its approach to lighting some of the scenes at Jeffries’ home at night as well as the way the exteriors would look in day at night at the apartment courtyard. Editor George Tomasini does excellent work with the editing as it help play into the suspense with its approach to rhythmic cuts as well as other stylized cuts to help create that sense of intrigue and heightened drama. Art directors J. McMillan Johnson and Hal Pereira, along with set decorators Sam Comer and Ray Moyer, do incredible work with the design of the apartment buildings and backdrops behind the buildings as well as the room where Jeffries sees everything.
Costume designer Edith Head does fantastic work with the costumes from the gorgeous dresses that Lisa wears as well as the skimpy clothing of the ballerina. Sound recordists John Cope and Harry Lindgren do terrific work with the sound in creating that raucous atmosphere in the building as well as the screams and small noises that help play into the suspense. The film’s music by Franz Waxman is superb for its orchestral score that has moments that are serene as well as low-key moments to play into the suspense while the film also feature music that is played on location include a piece by Ross Bagdasarian who appears in the film as the lonely composer.
The film’s marvelous cast include some notable small roles from Ross Bagdasarian as the lonely composer, Judith Evelyn as a lonely middle-aged woman seeking companionship, Rand Harper and Havis Davenport as the newlywed couple who had moved in to the building, Frank Cady and Sara Berner as the couple with the dog, Irene Winston as Thorwald’s wife, and Georgine Darcy as the ballerina who is called Miss Torso. Wendell Corey is superb as Jeffries’ detective friend Tom Doyle as a man who would check on Jeffries' suspicions though he doesn’t think Thorwald has done anything without any real evidence. Raymond Burr is fantastic as Lars Thorwald as this mysterious man who is believed to be hiding something as he is also very secretive where he eventually realizes that Jeffries is watching him leading to a confrontation in the film’s climax.
Thelma Ritter is excellent as Stella as a nurse who watches over Jeffries in his recovery as she would notice little things from the window as she provides some of the best lines and commentary as well as be a comic relief of sorts for the film. Grace Kelly is amazing as Lisa Fremont as the socialite girlfriend of Jeffries who is trying to help him as well as deal with the fact that her life is too perfect for Jeffries as she would later prove to be a helpful ally for Jeffries when she also suspects Thorwald. Finally, there’s James Stewart in a brilliant performance as L.B. “Jeff” Jeffries as an injured photographer who looks out his apartment window to see his surroundings as he notices something is off as he believes a murdered has occurred where Stewart provides that sense of restraint and curiosity into his performance as it is one of finest performances of his career.
Rear Window is an outstanding film from Alfred Hitchcock that features great performances from James Stewart, Grace Kelly, and Thelma Ritter. Along with its dazzling production design, beautiful cinematography, and provocative ideas of voyeurism. It’s a film that explores the idea of a man seeing something he probably shouldn’t have seen and wonder if there’s something bad happening. In the end, Rear Window is a magnificent film from Alfred Hitchcock.
Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) - The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) – The Lady Vanishes - (Jamaica Inn) – Rebecca – (Foreign Correspondent) – (Mr. & Mrs. Smith) – Suspicion - (Saboteur) – (Shadow of a Doubt) – Lifeboat - Bon Voyage - (Spellbound) – Notorious – (The Paradine Cage) – Rope - (Under Capricorn) – (Stage Fright) – Strangers on a Train - I Confess - Dial M for Murder - To Catch a Thief - (The Trouble with Harry) – The Man Who Knew Too Much (1956 film) – (The Wrong Man) – Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) – (Topaz) – (Frenzy) – (Family Plot)
© thevoid99 2017
Based on the novel by David Dodge, To Catch a Thief is the story of a reformed cat burglar who is being accused by the authorities over a series of copycat burglaries on rich tourists in the French Riviera as he tries to find out who the copycat is. Directed by Alfred Hitchcock and screenplay by John Michael Hayes, the film plays into a man who uses his old skill as a thief to try and find this thief who is trying to ruin the reformed life he’s already created just as he falls for a beautiful young woman. Starring Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams, Charles Vanel, and Brigitte Auber. To Catch a Thief is a gorgeous yet compelling film from Alfred Hitchcock.
The film plays into a former thief who had spent more than a decade trying to live a different and more honest life where a series of copycat burglaries on many rich tourists have occurred prompting him to find out who the real thief is before the authorities catch him. While it is a film with a simple premise, it plays into a man who is forced to use his old skills to find out who has been stealing jewels from these rich women vacationing in the French Riviera and why he’s being targeted by everyone including old friends he had from the French Resistance. Along the way, he is aided by an insurance agent who gives him names into people who might be next where he would fall for a young woman who is suspicious about his true identity.
John Michael Hayes’ screenplay takes it time to set the story up where it starts off with a cat burglary and then cut to a woman screaming about losing her jewels where it would escalate prompting the authorities to look after John Robie (Cary Grant) at his villa. Knowing what is going on and the fact that the police don’t trust him even if he is telling the truth forces him to seek the help of his old friends in the Resistance yet they reluctantly do so because they believe he might get them in trouble. With the aid of the insurance agent Hughson (John Williams), Robie pretends to be an American businessman so he can get close to a rich American tourist in Jessie Stevens (Jessie Royce Landis) and her daughter Frances as he believes they are next. Yet, he becomes close to Frances who is suspicious about him as she knows about these burglaries. Still, she is charmed by him where she would play a key role into helping him uncover the identity of the copycat.
Alfred Hitchcock’s direction is ravishing in terms of the setting that he creates as it is shot on location in the French Riviera but also has an air of style in the way he presents the element of suspense. Notably the scenes where these burglaries occur as it often features an image of a cat walking on the roof as it plays into what is happening where it prompts the film to come into place. While Hitchcock makes the French Riviera and its towns characters with a lot of gorgeous wide shots, it is really more of a backdrop to the world that Robie lives in where he has to find somewhere safe where he wouldn’t be captured by the authorities. Using lots of medium shots and close-ups, Hitchcock definitely plays up some of the film’s humor but also finds way to play up its suspense such as a few chase scenes in the mountains in the Riviera as well as some moments that play out in some of the villas. The romantic scenes between Robie and Frances are presented in a stylish yet playful manner while it would also have some subtle references into how far they go into their attraction. The film’s climax is among one of the most inventive where it’s lavish as well as gripping to see who is this copycat as it is a sequence that is just fun to watch. Overall, Hitchcock creates a thrilling and exhilarating film about a thief trying to capture a copycat to clear his own name.
Cinematographer Robert Burks does amazing work with the film‘s very colorful cinematography in capturing the lush colors of the French Riviera in its daytime exterior settings to its usage of lights for the scenes at night to play into the suspense and drama. Editor George Tomasini does brilliant work with the editing as it is stylish in its rhythmic cuts to play into some of the humor as well as slowing things down for its suspenseful moments. Art directors J. McMillan Johnson and Hal Pereira, with set decorators Sam Comer and Arthur Krams, do fantastic work with the look of the hotel rooms some of the characters stay as well as the villa that Robie lives in.
Costume designer Edith Head does excellent work with the design of the gowns that Frances wear as well as her mother to play into their posh lifestyles as well as the costumes for the film‘s climatic costume ball. Sound editors Howard Beals and Bill Wistrom do terrific work with the sound to play into many of the locations as well as the sparse moments in the burglary sequences. The film’s music by Lyn Murray is superb for its orchestral-based score with some lush string arrangements as it has some soaring themes for the romantic moments along with some intense pieces for its suspenseful moments.
The film’s remarkable cast include some notable small roles from Rene Blancard as the police commissioner, Georgette Anys as Robie’s housekeeper Germaine, Jean Martinelli as an old friend of Robie in a restaurant employee named Foussier, and Charles Vanel as the restaurant owner Bertrani who reluctantly helps Robie out to evade the police. Brigitte Auber is wonderful as Foussier’s daughter Danielle as a young woman who knows Robie as she suspects that he’s up to no good. John Williams is excellent as Hughson as an insurance agent who wants to help Robie find the stolen jewelry in the hopes that his insurance company can save face where he is one of the few that believes that Robie is telling the truth.
Jessie Royce Landis is fantastic as Mrs. Jessie Stevens as Frances’ mother who is this very fun woman that likes to drink Bourbon as she knows what is going on as she wonders what will happen as she also think that Robie is innocent. Grace Kelly is amazing as Frances Stevens as this woman who is wary of Robie’s presence as she is a woman of style but also a witty personality where she can also be the smartest person in the room. Finally, there’s Cary Grant in a brilliant performance as John Robie as a former cat burglar who is accused over recent thefts as he is forced to use his old skills to find the thief where it’s a performance that has Grant be charming but also display some humility as it is one of his finest performances.
To Catch a Thief is a spectacular film from Alfred Hitchcock that features incredible performances from Cary Grant and Grace Kelly. Along with a brilliant supporting cast and a crafty premise, the film isn’t just one of Hitchcock’s quintessential films but also one of his most entertaining. Especially for its inspiring usage of the locations and his approach to subtlety in the romantic elements of the film. In the end, To Catch a Thief is a sensational film from Alfred Hitchcock.
Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) - The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) - The Lady Vanishes - (Jamaica Inn) - Rebecca - (Foreign Correspondent) - (Mr. & Mrs. Smith) - Suspicion - (Saboteur) - (Shadow of a Doubt) - Bon Voyage - Lifeboat - (Spellbound) - Notorious - (The Paradine Cage) - Rope - (Under Capricorn) - (Stage Fright) - Strangers on a Train - I Confess - Dial M for Murder - Rear Window - (The Trouble with Harry) - The Man Who Knew Too Much (1956 film) - (The Wrong Man) - Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) - (Topaz) - (Frenzy) - (Family Plot)
© thevoid99 2015
Directed by Alfred Hitchcock and written by Frederick Knott from his own play, Dial M for Murder is the story of a man who plots to have his wife killed not just for her extramarital affair but also to inherit some money. The film is an intriguing story in which man conspires with another to have his wife killed where the plan suddenly goes wrong which forces him to find ways to get his wife’s money. Starring Ray Milland, Grace Kelly, Robert Cummings, Anthony Dawson, and John Williams. Dial M for Murder is a splendid and riveting film from Alfred Hitchcock.
The revolves around a former tennis pro who learns that his wife’s old lover has returned to Britain where he conspires with an old friend to have her killed so he can gain her inheritance as well as humiliate her lover. It plays into a man who knows that his socialite wife is having an affair but doesn’t want her to know that he knows where he would do whatever to humiliate her and have her money. Once the murder takes place, something does go wrong but the character Tony Wendice (Ray Milland) would find a way to still profit from these misfortunes as he would charm and talk his way to the authorities including Chief Inspector Hubbard (John Williams) about what had happened.
The film’s screenplay by Frederick Knott largely takes place in the apartment home of Wendice and his wife Margot (Grace Kelly) where Wendice would do his conspiring as well as where the murder, investigation, and aftermath would occur. It’s a film with a very intimate setting with few scenes set outside of the apartment as there’s also some very stylish dialogue that doesn’t just drive the story but also pinpoint key moments in what is to happen and such. Knott’s script also helps play into the suspense where its first act is about Wendice conspiring with old college friend Captain Lesgate (Anthony Dawson) where it would involve some blackmail as it becomes clear in how much in control Wendice is. The second act is about the murder and its aftermath where Hubbard is in control as it raises a lot of question as Margot’s lover Mark Halliday (Robert Cummings) believes something isn’t right as he knows about these things since he is a writer.
Alfred Hitchcock’s direction is very engaging for the intimacy that he creates where there are a few scenes shot on location in London yet most of it is shot inside the apartment. While Hitchcock does maintain a sense of intimacy and theatricality into the setting, he also infuses it with some stylistic shots such as some unique crane high camera angles, slanted angles, and other moments to help play into the sense of mystery and intrigue. Hitchcock’s usage of close-ups and wide shots would also play into that air of high drama and suspense as it relates to Margot and how she is caught off guard in her husband’s scheme. The way Hitchcock would play up the murder scene just adds to his mastery of suspense as it’s a slow build-up where something does happen but he also finds a way to subvert it. Even in the aftermath where Hubbard takes control as he figures out every scenario that occurs where Hitchcock knows how to frame him and everyone else in these scenes. Especially for the third act where he and Halliday both go into their own investigations as it plays to what was at the crime scene and what wasn’t. Overall, Hitchcock crafts a very gripping yet intelligent film about a man’s plan to have his wife killed for greed and revenge.
Cinematographer Robert Burks does excellent with the film‘s colorful cinematography to play into the look of London in some of its exteriors while using some unique lighting schemes and mood for the scenes set at night in the apartment. Editor Rudi Fehr does fantastic work with the editing with its usage of rhythmic cuts for some of the conversations along with some stylish cuts to play into its suspense. Art director Edward Carre and set decorator George James Hopkins do amazing work with the design of the apartment and its rooms as well as some of the apartment halls which add to the sense of intimacy throughout the film.
The sound work of Oliver S. Garrettson, Stanley Martin, and Robert G. Wayne do terrific work with the sound to help play into the atmosphere of the suspenseful moments as well as the very quiet moments in the film. The film’s music by Dimitri Tiomkin is superb as its lush orchestral score play into the drama along with some eerie themes for its suspenseful moments.
The film’s cast includes some notable small roles from Leo Britt as a storyteller at a party Wendice and Halliday go to, Patrick Allen and George Leigh as a couple of detectives aiding Hubbard, and Robin Hughes as the police sergeant who helps Hubbard in the film’s climatic third act. Anthony Dawson is excellent as Wendice’s old friend Captain Lesgate who is asked to kill Margot in exchange for not having his identity revealed over his criminal activities. John Williams is amazing as Chief Inspector Hubbard as the man who investigates the murder as he tries to figure out every scenario but also see what he overlooked as it’s a very fun and witty performance.
Robert Cummings is fantastic as Mark Halliday as a writer who is also Margot’s lover as he tries to figure out what is going on as he knows something isn’t right about what had happened. Grace Kelly is brilliant as Margot Wendice as a socialite who is unaware of what her husband wants to do as she spends time with Halliday which would play into the target on her back. Finally, there’s Ray Milland in a marvelous performance as Tony Wendice as a former tennis pro who conspires a plan to kill his wife in not only getting revenge on her but also take her inheritance as it’s a performance full of charm as it allows him to bullshit his way through everything as it’s just a fun performance to watch.
Dial M for Murder is a remarkable film from Alfred Hitchcock. Featuring a great cast, a compelling premise, and some stylish yet intimate direction, the film is definitely one of Hitchcock’s finest films. Especially in the way he manages to find ways in playing with the ideas of suspense and plotting. In the end, Dial M for Murder is a phenomenal film from Alfred Hitchcock.
Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) - The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) - The Lady Vanishes - (Jamaica Inn) - Rebecca - (Foreign Correspondent) - (Mr. & Mrs. Smith) - Suspicion - (Saboteur) - (Shadow of a Doubt) - Bon Voyage - Lifeboat - (Spellbound) - Notorious - (The Paradine Cage) - Rope - (Under Capricorn) - (Stage Fright) - Strangers on a Train - I Confess - Rear Window - To Catch a Thief - (The Trouble with Harry) - The Man Who Knew Too Much (1956 film) - (The Wrong Man) - Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) - (Topaz) - (Frenzy) - (Family Plot)
© thevoid99 2015
Directed by Fred Zinneman and screenplay by Carl Foreman from a story by John W. Cunnigham, High Noon is the story about a retired marshal who finds himself having to take a stand against a group of vengeful criminals in order to save his town. The film plays into a man reluctantly taking part in a stand against a villain and his gang as it’s told in real time. Starring Gary Cooper, Grace Kelly, Ian MacDonald, Lloyd Bridges, Katy Jurado, Lee Van Cleef, and Robert J. Wilke. High Noon is a gripping yet mesmerizing film from Fred Zinneman.
The revolves around the release of a criminal named Frank Miller (Ian MacDonald) who is about to arrive at the town of Hadleyville in order to get revenge on the man that put him to prison in a marshal named William Kane (Gary Cooper). Once Kane hears the news on his wedding day and that Miller will arrive town at noon, trouble brews as Kane is about to retire and live the quiet life with his bride Amy (Grace Kelly). Kane reluctantly decides to stay to face Miller and his gang as he suddenly realizes he’s all alone with no one willing to take a stand with him. Even Amy reluctantly decides to leave Kane to take the train out of town along with a former lover of Kane and Miller named Helen Ramirez (Katy Jurado) who is currently with Kane’s deputy Harvey Pell (Lloyd Bridges) who also decides not to help out Kane. Once noon comes in, it all comes down to this showdown between Kane and Miller with his gang.
What makes this film so engrossing isn’t just the fact that it’s told in real time but the way time is used to create this sense of tension and dread about the return of a notorious criminal who had brought chaos to this small town until a man named Kane brought law and order back to the town. Miller’s return causes worry as they’re all afraid of him and his gang forcing Kane to do everything by himself. Carl Foreman’s screenplay definitely plays to that sense of tension and dread as time is a real drive to the story. A lot of it features Kane having to go back to town and gather whatever posse he can get only to be turned down as many of the locals have no faith in the aging Kane despite what he’s done for the town. Still, there’s those who feel like Miller’s return will help things as Kane finds his back against the wall.
The script also plays into the people around Kane such as Amy and Helen as both of them each offer weight to the story. Amy is a Quaker who is worried about being a widow and doesn’t want to see Kane killed but also doesn’t want to deal with the sense of violence as she had horrific encounters with violence in the past. Helen is a woman was once a lover of Kane and Miller in the past as she had just made a new life for herself but Miller’s return forces her to flee in order to not just see Kane killed but also avoid Miller. Frank Miller doesn’t appear in the story until the moment the train arrives exactly at noon but still carries a presence that is disconcerting as he brings fear to this small town as the locals are unsure whether to take a stand against him or just let him and his posse take over.
Fred Zinneman’s direction is truly engrossing for the way he presents the film. Notably in the way he maintains this sense of tension in the film as time slows down where the pacing has this unsettling tone over what is coming. Zinneman uses a lot of close-ups and medium shots to play out the tension while always finding a way to put the clock in the frame to emphasize that time is a key proponent in the story. Zinneman also creates the sense of drama to help drive Kane’s decision of whether to face off against Miller or to run with Amy and hide from him. Yet, Kane is not a coward but he is aware of how dangerous Miller and his gang is.
Zinneman also employs an intimacy in some of the drama as well as scenes of the locals talking about Kane and Miller to help play into that sense of time as they all await for the showdown. It does add to that sense of dread where everyone is waiting for the train arrive including Miller’s gang as they wait at the station. Once the climatic showdown is coming, the suspense definitely amps to see what will happen and how will Kane go face to face against Miller and his gang. Overall, Zinneman creates a very intense and riveting film about a man taking a stand against a chaotic criminal.
Cinematographer Floyd Crosby does brilliant work with the film‘s gorgeous black-and-white photography in the use of shadows against the sun while creating low-key lights for some of the film‘s interiors. Editors Elmo Williams and Harry W. Gerstad do fantastic work with the editing as it plays to the sense of suspense and dread along with a few rhythmic cuts to play out some of the dramatic reactions and fights. Production designer Rudolph Sternad, along with set decorator Murray Waite and art director Ben Hayne, does excellent work with the set pieces from the look of the town to the hotel that Helen stays in.
The sound work of John Speak is superb for the atmosphere is created in the saloons as well as playing up to the suspense with the sound of clocks and train horns. The film’s music by Dimitri Tiomkin is amazing for its low-key yet somber score that is a mixture of country-western and orchestral music while using some orchestral music to play up the suspense and drama while the film’s title song co-written with lyricist Ned Washington and sung by Tex Ritter is a wonderful piece that helps tell the story.
The casting by Jack Murton is phenomenal for the ensemble that is created as it features some notable appearances from Harry Morgan as a friend of Kane who refuses to help out, Eve McVeagh as that friend’s wife who reluctantly lies to Kane, Otto Kruger as the judge who tells Kane to leave town, Lon Chaney as Kane’s old mentor who also tells Kane to leave, Morgan Farley as the town’s local minister and as Miller’s gang, there’s Robert J. Wilke, Sheb Wooley, and Lee Van Cleef as they bring a unique presence to the film. Ian MacDonald is terrific as the film’s antagonist Frank Miller as he appears late in the film but brings a great presence in the way he arrives to the film.
Lloyd Bridges is excellent as Kane’s successor who feels slighted by Kane as he abandons his post while trying to get him to flee. Katy Jurado is amazing as Helen Ramirez as a former lover of Kane and Miller as she is aware of the danger that is coming as she tries to get Kane to flee town as well. Grace Kelly is radiant as Kane’s new bride Amy as a woman who urges her husband to flee while dealing with the possibilities of what would happen as she would play a key role in the showdown. Finally, there’s Gary Cooper in an outstanding performance as William Kane as an aging marshal who is forced to face the man he put in prison while realizing how alone he is as it’s a performance that is truly engaging in the way Cooper maintains a sense of humility and determination to a man wanting to do what is right for himself and his town.
High Noon is a tremendous film from Fred Zinneman that features a brilliant performance from Gary Cooper. Along with noteworthy supporting performances from Grace Kelly, Katy Jurado, and Lloyd Bridges, it’s a film that is truly one of the defining films of the western genre. Particularly in the way it builds tension and suspense in real time as it doesn’t falter in its pacing while maintaining a sense of excitement. In the end, High Noon is a magnificent film from Fred Zinneman.
Fred Zinneman Films: (Redes) - (That Mothers Might Live) - (Stuffie) - (Forbidden Passage) - (Kid Glove Killer) - (Eyes in the Night) - (The Seventh Cross) - (My Brother Talks to Horses) - (The Search) - (Act of Violence) - (The Men (1950 film)) - (Benjy) - (Teresa) - From Here to Eternity - (Oklahoma!) - (A Hatful of Rain) - (The Nun’s Story) - (The Sundowners) - (Behold a Pale Horse) - (A Man For All Seasons) - (The Day of the Jackal) - (Julia) - (Five Days One Summer)
© thevoid99 2013
