The song from "High Noon" - YouTube The song from "High Noon" Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jan 26, 2012 Enjoy "Do Not Forsake Me, Oh My Darlin" sung by Tex Ritter from the great western movie "High Noon". Photos from the movie accompanied by this wonderful song. Category “Do Not Forsake Me: The Ballad of High Noon” and the Rise of the Movie Theme Song • Senses of Cinema Do not forsake me O my darlin’ On this our wedding day. Do not forsake me O my darlin’ Wait, wait along. The noonday train will bring Frank Miller. If I’m a man I must be brave And I must face that deadly killer Or lie a coward, a craven coward, Or lie a coward in my grave. O to be torn ‘twixt love and duty! S’posin’ I lose my fair-haired beauty!

Look at that big hand move along Nearin’ high noon. He made a vow while in State’s Prison, Vow’d it would be my life or his and I’m not afraid of death, but O, What will I do if you leave me? Do not forsake me O my darlin’ You made that promise when we wed. Do not forsake me O my darlin’ Although you’re grievin’, I can’t be leavin’ Until I shoot Frank Miller dead. Wait along, wait along Wait along Wait along – “Do Not Forsake Me [The Ballad of High Noon]”, words by Ned Washington, music by Dmitri Tiomkin “Do Not Forsake Me”, or “The Ballad of High Noon”, is perhaps one of the most widely known and fondly remembered theme songs of all time, but its colossal success depends on far more than a catchy tune. The ways that it was used within as well as outside of the film High Noon (Fred Zinnemann, 1952), were extremely progressive.

It was tremendously influential and, as I will show, helped to popularise the use of theme songs in later years as well as to define the lyrical style that would dominate title songs in Western movies. It was also immensely effective in the way that it guided viewers’ expectations of the film, helping to shape their experience of it. For fans of the Western genre it is an especially interesting work as its lyrics lay bare some of the issues and concerns most central to the genre as well as to the film at hand. In 1952, when High Noon was released, few dramatic films featured songs. Where they did exist, they were mostly diegetic. The decision to open the film with a song that functions so overtly as a narrational device is consequently striking and its implications are diverse. However, they can, for the most part, be placed within two categories, marketing and narration. High Noon was by no means the first film to be cross-marketed with a song or musical score. Although the first film soundtrack album, The Jungle Book, was not released until 1942, merchandising of film songs either as short-play records or sheet music had already been common practice for some years (1) .

In August 1929, the New York Times was quick to report: Boundless radio has found a common denominator with the audible cinema, the theme song; and already “The Pagan Love Song”, “Evangeline”, “Broadway Melody” and “The Breakaway” are persisting through the tubes (2) . The author of this article notes that as early as the late 1910s theme songs proliferated in “silent” cinema – both as live accompaniment to film screenings and in other arenas of circulation – and cites the theme songs for Mickey (Richard Jones, 1918) and The Bluebird (Maurice Tourneur, 1918) as early examples. Russell Sanjek argues that Mickey was responsible for demonstrating to the film industry how valuable a popular song could be for promoting a film (3) . This lesson was repeated many years later when High Noon set a new standard for effective cross-promotion, and in so doing encouraged a horde of imitators.

It won the Academy Award for Best Song and, according to Jonathan Groucutt, “opened the floodgates” for theme songs, initiating the “’hit-theme’ mania” that had emerged in American cinema by the 1960s (4) . After the success of “Do Not Forsake Me”, there was a vast increase in the number of films, especially dramatic films, to open with a theme song during the credits. Between 1950 and 1954, only 13 percent of American feature films used this device. Over the next five years the percentage grew to 22 percent and by the late 1960s this figure had risen still further to 29 percent. (5) The biggest rise in the use of theme songs took place within the Western genre, argues Ed Buscombe, who claims that after 1952 most major Westerns opened with a theme song. He observes that this trend also resurrected the career of ex-singing-cowboy star, Tex Ritter, performer of “Do Not Forsake Me”, who found new success as a vocalist for a number of Western movie theme songs in the 1950s.

(6) As one 1953 newspaper journalist opined, Already the cycle is nobly launched, and judging from the rush around movietown to sign cowboy warblers who can give a pretty good imitation of Tex Ritter’s agonised delivery of Gary Cooper’s musical woes in High Noon, any picture of the Old West without such accompaniment may go begging for theatre engagements (7) . If the escalating popularity of theme songs can be partly explained by the success of High Noon, it should nevertheless be recognised that wider industrial factors underlay this trend. The drive to release theme songs through newly acquired or created recording arms of film companies had been hastened by the divorcement decrees of 1948. The severance of exhibition outlets from production companies and the loss of guaranteed revenue that these anti-monopolistic mandates caused, led production companies to seek alternate channels of gain. One of these was the expansion of their recording arms, and a more methodical cross marketing of music and film. (8) In 1951, a year before High Noon‘s release, a record executive argued that, “A film company must have a record arm.

It could lose money, and it would still come out way ahead on the promotion of basic product.” (9) Jeff Smith describes the way this perspective influenced the release of High Noon: UA touted the High Noon campaign as one of the biggest ever, and it features many of the components that were commonly used in later promotions, such as multiple theme recordings and co-ordinated radio exploitation… The centrepiece of the campaign was the six single releases of the film’s theme song. Frankie Laine and Tex Ritter’s versions, for Columbia and Decca respectively, were clearly the most important, but the tune was also recorded by Billy Keith, Lita Rose, Bill Hayes, and Fred Waring… Whereas a record promoter would seek out sales and exposure of a particular version of the theme, UA simply sought as much repetition of the tune as possible (10) . High Noon has acquired a reputation for precipitating changes in the style of film scores more generally, as well as they ways in which they were marketed. Although “Do Not Forsake Me” has, in itself, attracted considerable praise, the implications for later film music have been framed negatively by a number of musicians and critics.

Some have argued that the desire to incorporate a theme that could be independently marketed took priority over the scoring of music appropriate to the film’s narrative and mood. Composer Elmer Bernstein claimed that “Do Not Forsake Me” precipitated the demise of the classical film score, whilst film historian Roy M. Prendergast went so far as to argue that it “unknowingly rang the death knell for intelligent use of music in films” (11) . Dorothy Horstman blamed High Noon for killing off another musical genre, the cowboy song, as the “adult Western” took precedence over singing Westerns (12) . These criticisms may indeed hold some water, but at the same time High Noon represented a renaissance in the way that title songs were adapted to narrational purposes, using “Do Not Forsake Me” in a sophisticated fashion to lay out some of the important themes at the start of the film. Before looking in some detail at the words of “Do Not Forsake Me”, and considering how the song relates to High Noon, as well as its relationship to the Western genre more generally, it is important to note that the lyrics of different versions vary substantially from one another.

Like several other movie theme songs of the 1950s, such as those of The Man from Laramie (Anthony Mann, 1955) and 3:10 to Yuma (Delmer Daves, 1957), the version played in the film contains very specific narrative references that were toned down or removed in order to create a more universal tale for the release of tie-in singles. The lyrics of Frankie Laine’s hit recording of “Do Not Forsake Me” were thus amended to omit all direct references to the film’s villain, Frank Miller (Ian MacDonald). Ned Washington wrote the lyrics for all three of these songs and thus stands out as a figure of central importance in the development of the Western theme song during the 1950s. Generating a prolific quantity of similar material throughout this decade, notably including the theme song for Gunfight at the OK Corral (John Sturges, 1957), he played a central role in securing the success of the song’s formula.

The most exceptional feature of the lyrics to the version of “Do Not Forsake Me” that opens High Noon is the extent to which it summarises the plot, even suggesting the way in which the story ends. Narrative précis, as well as invocation of specific characters and narrative events, emerged as a fully-fledged song genre in 1952, the year that saw the release of both Fritz Lang’s Rancho Notorious and High Noon. Although Rancho Notorious, which used this technique, predated High Noon by several months, its theme song never achieved the same degree of fame and influence. Perhaps the paradigmatic example of the Western theme song, “Do Not Forsake Me” outlines the main story elements, including the initiating events, the backstory, and the primary conflicts that must be played out at the film’s climax. Nevertheless, the strategy allows the preservation of a remarkable level of suspense. We know what the conflicts are that will be acted out, but not the details of their development. High Noon is built around the tense anticipation of the arrival of the nefarious Frank Miller on the noonday train.

The song develops the implications of this event, hinting at the coming duel between Miller and Sheriff Will Kane (Gary Cooper) – “I must face that deadly killer” – as well as endowing Kane with an emotional depth that is less fully evident from his actions on screen. It bestows upon the film an ongoing psychological tension, heightening the drama of each minute – “Look at that big hand move along, nearin’ high noon” – as well as pointing forward to the climax. The inevitable mortal battle with Frank Miller, indicated in the song, is the physical conflict that will provide the action and spectacle intrinsic to the genre. However, from our knowledge of the archetypal persona of the Western hero, coupled with Gary Cooper’s star image, we can surmise that “torn ‘twixt love and duty” provides the internal conflict that will be the film’s driving force. Instrumental phrases from the song are used throughout the film and these persistently remind the viewer of the corresponding lyrics.

Graham Fuller writes that, “with its throbbing tune and recurring line of desperation – ‘what will I do if you leave me?’… it provides a chilling motif, ebbing away at moments of despair to suggest the real reason for the torment etched on Kane’s face.” (13) . At several points in the film, a line from the song is heard, complete with lyrics, but only very faintly. The technique is thus less intrusive than the verses that punctuate Rancho Notorious or Gunfight at the OK Corral. The song, at first glance, seems very simple in both structure and message. A slightly closer look exposes a work of considerable complexity. Ostensibly addressed not to the viewer but rather to Kane’s wife, Amy (Grace Kelly), the song jumps back and forth between tenses.

It refers to historical events, such as the backstory of the conflict between Kane and Miller, and Miller’s vow of revenge on Kane for putting him in jail: “He made a vow while in State’s Prison, vow’d it would be my life or his…” It also points forward to the choice that Kane will make when Miller arrives, borne out of the emotional dilemmas that pervade the body of the film: “If I’m a man I must be brave…” Its description of these is centred on the choice he must make between “love and duty”. This is a feature common to many Western films. Robert Warshow has argued that a general feature of gender relations in the Western is that If there is a woman [the hero] loves… he finds it impossible to explain to her that there is no point in being ‘against’ [killing and being killed]: they belong to his world… In Western movies, men have the deeper wisdom and the women are children (14) . In “Do Not Forsake Me”, as in “OK Corral”, the woman is invoked as support, a figure of strength in the background, without whom the hero cannot succeed.

She is required to facilitate the hero’s success in the physical realm by bolstering his psychological strength and yet, when it comes to a choice between honourable machismo and the love of a woman, she will almost inevitably lose out: “Although you’re grieving, I can’t be leaving until I shoot Frank Miller dead.” Although the song lyrics are in the first person and seemingly derive from Kane, it is no secret that they are actually performed by Tex Ritter – his contribution is prominently advertised during the opening credits. Although this establishes a distance between these words and the character of Kane, who is not in any case a character we might expect to express himself in song, the technique is significantly different from the introduction to Rancho Notorious by an omniscient narrator who withholds information. “Do Not Forsake Me” does not narrate with the benefit of hindsight, and yet the archetypal plot elements it invokes allow the viewer to extrapolate further narrative events, including the final showdown. The song appeals to our knowledge of other Western movies and in doing so it encourages us to model our expectations of the film according to generic conventions. To précis the plot in the opening theme song may seem a curious ploy.

One possible explanation of this strategy can be found in Richard Combs’ identification of High Noon as representing a precise stage in the development of the Western genre. He argues that, “A developing sense of its own ritual is one of the things that defines the ‘classic’ Western, but also leads it to outstrip itself (as perhaps all classicisms must), and finally to dissolve itself” (15) . Certainly the film schematically draws attention to its formal attributes and yet Claude Mauriac’s interpretation of the pleasures that we seek in watching this genre is perhaps more satisfactory. He writes: “We love Westerns in proportion to whether they offer us just enough surprises to make us experience the pleasure of seeing images we have seen a hundred times before” (16) . In its avowal of the primary pleasures we derive from watching Western movies, and its meaningful augmentation of the experience of viewing High Noon, “Do Not Forsake Me” has secured for itself a prominent place in the pantheon of movie theme songs. The enormous contribution it has made to the heritage of Western theme songs as well as the developing art of cross-promotional marketing deserve to be remembered in the present era where such synergy has come to be taken for granted.

Through its narration of universal themes within a specific tale it is a unique piece of writing that has had enduring repercussions. Endnotes Jeff Rovin, The Signet Book of Movie Lists, NEL, New York, 1979. New York Times, 4th August 1929. Russell Sanjek, American Popular Music and Its Business: The First Four Hundred Years – Volume III: From 1900-1984, Oxford University Press, Oxford, 1988, p. 47. Jonathan Groucutt, “Scoring for the ’60s”, The Movie, vol. 7, chapter 75, pp. 1498–1500. Statistics given in this article are based on my survey of 2636 title sequences from American feature films of the sound period. Ed Buscombe (ed.), BFI Companion to the Western, BFI/Andre Deutsch, London, 1991, p. 194. Harold Hefferman, “The Minstrel is the Man of the Hour”, Baltimore Sun, July 26, 1953.

Cited in Texas Jim Cooper, “Tex Ritter: His Songs and Personality Expressed the Ethos of Our West”, Films In Review, vol. 24, no 4, April 1970, p. 211. A detailed account of the film industry’s move towards diversification and conglomeration, and the resultant increase in cross-promotion of films and records can be found in Jeff Smith, The Sounds of Commerce: Marketing Popular Film Music, Columbia University Press, New York, 1998. See also Alexander Doty, “Music Sells Movies: (Re)new(ed) Conservatism in Film Marketing”, Wide Angle, vol. 10, no. 2. Cited in Smith, 1998, p. 59. Smith, 1998, pp. 59–60. Russell Lack, Twenty Four Frames Under: A Buried History of Film Music, Quartet Books, London, 1997, p. 207; Roy M. Prendergast, Film Music: A Neglected Art, W.W. Norton, New York, 1977, pp. 102-3.

Dorothy Horstman, Sing Your Heart Out, Country Boy, second ed., Country Music Foundation Press, Nashville, 1996, p. 331. Graham Fuller, “High Noon”, The Movie, vol. 5, chapter 53, pp. 1052–53. Robert Warshow, “Movie Chronicle: the Westerner”, in Gerald Mast and Marshall Cohen (eds.), Film Theory and Criticism, Oxford University Press, New York, 1974, p. 403. Richard Combs, “High Noon”, Monthly Film Bulletin, June 1986, p. 187. Cited in Lotte H. Eisner, Fritz Lang, Secker and Warburg, London, 1976, p. 301. Share On: High Noon Intro - YouTube High Noon Intro Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on May 1, 2007 A great 1952 western direct by Fred Zinnemann, starring Gary Cooper. Song "High Noon" written by Dimitri Tiomkin, lyrics by Ned Washington and sung by Tex Ritter. Category High Noon Reviews & Ratings - IMDb IMDb 341 reviews in total 114 out of 139 people found the following review useful: Remarkably well-organised western in which not one single second is wasted and the tension is built up admirably. from Todmorden, England 16 April 2006 John Wayne was totally wrong to call this movie un-American. Courage and cowardice are universal emotions, and the attitudes of the characters in High Noon are, I think, incredibly truthful and telling. I know that if I lived in the Wild West, had a job and family, and was asked to stand up and fight against a gang of gun-toting psychos I would probably not be able to do it. That's why Gary Cooper's Will Kane is such a remarkable character in terms of self-respect, morality and inner strength.

It's the way he MUST uphold the law even though it will perhaps cost him his wife and his life. It is the various townfolk with whom most of us will identify, even if it makes us feel shame or unworthiness to admit it. No matter how bravely we act, nor how much we want to think heroically of ourselves, 90% of us would cower in the shadows when the time came to do what Will Kane does in this movie. On his wedding day, dependable lawman Will Kane (Gary Cooper) has just handed in his badge and is preparing to leave town with his bride Amy (Grace Kelly) when he receives devastating news. An old adversary, Frank Miller (Ian MacDonald), has been pardoned for crimes that he should have hanged for and is on his way to Kane's town of Hadleyville to get revenge. He is due on the noon train, leaving Kane one hour to either run for his life or make preparations to fight. Kane and Amy set off at full gallop, hoping to put some miles between themselves and danger, but Kane doesn't get far before he feels compelled to turn back.

With the new sheriff not due for a day, he just can't let go of the extraordinary sense of duty and responsibility he feels towards his town. However when he gets back to town he gets quite a shock - for no-one has the guts (nor, in some instances, the inclination) to fight alongside him against the Miller gang. As time ticks unstoppably towards noon, Kane gradually realises that if he's going to stop Miller and his boys, he's going to have to do it alone! Cooper's performance is extremely powerful and he received a thoroughly deserved Oscar for it. Kelly is good as his bride, although many viewers will find her character hard to like. Lloyd Bridges has a brilliant early role as Kane's deputy, while the very best of the supporting pack is Katy Jurado as a Latino woman whose "history" with most of the men in town puts her in an unenviable position when the shooting starts. Fred Zinnemann directs the film outstandingly, making each scene fit into the grander scheme of things with literate precision. Any aspiring young film-maker wanting to learn how to pace a film correctly should watch High Noon with a close eye, for it is unparallelled as the most perfectly paced film of all-time.

The music by Dmitri Tomkin - plus that incredible ballad "Do Not Forsake Me Oh My Darling" by Tex Ritter - is just one more element that makes High Noon one of the great masterpieces. There's nothing else to say - if you haven't already, go out and see this film NOW! Was the above review useful to you? 94 out of 132 people found the following review useful: superlative 50s western from United Kingdom 22 March 2004 Gary Cooper's greatest role, at 50, as the newly-married sheriff, Will Kane, left to fend for himself against his returning enemies, abandoned by the town he remains loyal to, and played out in real time through its 90 minute running time. Ably supported by Grace Kelly as his pacifist Quaker wife, who discovers love and right triumphs over long-held preconceptions; Katy Jurado as Kane's former mistress, a fiery Latino type; and Lloyd Bridges as the feisty deputy; Cooper runs away with the acting honours. The theme tune by Tex Ritter is also worthy of note.

High Noon' works because of its tightly written script, its cracking pace and crackling tension. I've seen the film many times and always see something different to notice and admire; still, I'd love to see it again for the first time and not know the twists and turns, not know how it ends. A fabulous film  one of the best. Was the above review useful to you? 87 out of 127 people found the following review useful: The definitive western movie from New Hope, Alabama USA 31 January 1999 This is the definitive Western. There are other excellent Westerns of course ("The Unforgiven," "Pat Garrett and Billy the Kid," "The Searchers," "My Darling Clementine," and "The Man Who Shot Liberty Valance" come immediately to mind), but none tops this one. Even though the difference in age between Gary Cooper and Grace Kelley makes the thought of their marriage seem a little kinky, it's easy to buy into the story. Katy Jurado is sexy, Lloyd Bridges is callow, and the townspeople mean well, but when push comes to shove, they reveal their cowardice.

(If you remember the scene in "Blazing Saddles" in which Van Johnson says, "Howard Johnson is right," you'll almost certainly laugh at an inappropriate moment in "High Noon." ) "High Noon" is a textbook example of the storyteller's art. The drama begins with the opening credits and doesn't let up until everyone's true character has been laid bare. This one is suspenseful and thrilling, and I find more to admire with every viewing. Was the above review useful to you? 78 out of 110 people found the following review useful: High Noon assessment from Philadelphia 19 September 2004 High Noon is for me one of the two finest Westerns ever made (the other is Shane). It is an elemental commentary on the best and worst of America, the best and worst of mankind. It is Greek tragedy and Shakespeare brought to the Old West in a grandly simple form. Gary Cooper is superb and the supporting cast is outstanding as well (although I wish Grace Kelley would have spoken without the artificial sounding school-girl accent, something which marred so many of her otherwise fine performances).

I do not read into the film a commentary on events of the 1950s, specifically the ongoing investigations by Congress of left-wing activities. High Noon transcends such specifics as this. I know John Wayne called the film un-American but I must disagree. I have great respect for the Duke but think he got this one wrong. Weak, timid people are everywhere and the strong are often few and far between. Goodness and right often prevail because a small minority insure that they do. All benefit from the courage of the lonely hero whether they realize it or not. Hign Noon is a testimony to this truth. Was the above review useful to you? 67 out of 100 people found the following review useful: I don't get it from United States 1 July 2007 I am puzzled; how can anyone rate this as less than a 10? Can anyone find a single flaw in this movie? Any way it could have been better? This is the gold standard by which Westerns should be measured, not to mention any drama. It simply doesn't get any better than this. As film, High Noon does an exceptional job of giving depth to characters quickly. The situation defines their character.

Katy Jurado' role is one of the exceptions, where there is more talking, but we see unfold an exceptionally interesting person. How many movies can you watch repeatedly over the years as you grow up and grow old that continue to move you and continue to reveal new depth and meaning? That is the measure of art. This movie is timeless, and has a lesson for humanity of all eras and all nationalities. It will be watched a hundred years from now, a thousand years from now, if civilization survives that long. The message of this film is that this is not at all certain. It is up to us. I suspect the reason some people down-rate High Noon is not for the quality of the film, but the message. Like John Wayne, they just don't like what it says about America. Well I've got bad news for you, John, the Frank Millers have killed the sheriff and now run this country. The gang has gotten elected president and vice president. And the townspeople and ministers acquiesced like sheep or even actively supported it as "good for business." Was the above review useful to you?

73 out of 113 people found the following review useful: Timeless from Illinois 13 November 2004 I just watched this movie again. I have no idea how many times I have seen this movie over the span of my 52 years (yes I was born the same year the movie was released). Each time I have seen it, of late, I continue to develop a greater appreciation for it. I normally liked to be lightly entertained by a movie. This movie provides a glimps at so many varied characters, showing such a variety of emotions and complex personal issues. This is no-nonsense, un-contrived, straight forward story telling, at its best. I truly enjoy the restrained use of dialogue. It is amazing how much story is told with so few words, in a limited running time. WOW, I love it. Was the above review useful to you?

48 out of 66 people found the following review useful: A Man Who Won't Run Away from the Sagas of Icelanders 29 May 2006 For me, Will Kane embodies the American ideal of a hero: a man who stands up for what is right, even when nobody else does, even when the temptation is strong to stick the head in the sand. Will Kane explains his outlook at the outset: there is no point in running away if that means spending the rest of your life watching your back. His best chance is to face his enemies on his home ground. At this point, he still thinks that honest folk will stand by him. The rest of the movie is a study in character: will he stand his ground when his entire world crumbles around him? It is puzzling that Howard Hawks, John Wayne, and others thought of High Noon as un-American. I am not sure if this is because of the allegory of the McCarthy era; or the people of an American town collectively sticking their heads in the sand; or the Marshal throwing his badge to the ground in the last scene. Clearly, the movie does not criticize McCarthyism itself.

(It has nothing to say about communism, either.) It appears to criticize the people who did not stand up to McCarthy and the HUAAC, but it can equally well be seen as a comment on the appeasers who did not stand up to fascism or communism. In any case, not too much must be made of the anti-appeasement angle, because the townsfolk is not the primary focus of the movie: the focus is on Will Kane. When the townsfolk behave like cowards, that gives Will Kane a chance to prove that he is a hero. If the town had stood by the Marshal, we would have seen, at best, an excellent Western like Rio Bravo, but not a masterpiece like High Noon. For Will Kane to be a hero, it is necessary that he stands alone. No statement can convey the dramatic impact of Will Kane throwing his badge away, but it is worth discussing what this gesture means. For me, it means that the town and the badge were not worth fighting for. Will Kane fought for principle: he fought because he does not run away. Was the above review useful to you?

55 out of 84 people found the following review useful: Citizen Kane from New York 29 August 2004 High Noon is one of the most loved films of all times thanks to the elements that came together to make it the classic that it is. The movie owes a lot to Fred Zinnemann for his tight account of this story by Carl Foreman. The film benefits from Dimitri Tiomkin's great score and the great cinematography by Floyd Crosby. This is a film that packs a lot of symbolism because of the times when it was done. Those were the days of the communist hysteria where many people in the industry were accused, tried and lost jobs because when they faced the HUAC and Senator Joseph McCarthy. Gary Cooper plays a man who is decent enough to return to the town where he just has gotten married and has finished his tour of duty. His conscience doesn't let him leave his post as he delays his plans and goes back to defend the town from the bandit who's been freed by Northern judges, and is coming back to seek revenge from Marshal Kane and the town. Gary Cooper embodied the all Amercian hero.

He was an actor who could do no wrong, as he proves in his take of Marshal Kane. We see him as the clock is ticking away toward noon time when the train will arrive in Hadleyville. We see him perspire as he goes around trying to get people help him deal with the problem, to no avail; he will have to do it himself. In the process, he clearly disappoints his new bride, who is horrified at the prospect of losing the man she clearly loves. Grace Kelly was such an elegant figure that it's hard to imagine she would be in Hadleyville at all! Katy Jurado was also excellent as the jaded Helen Ramirez, the woman who owned a lot of businesses in town. Also effective, Thomas Mitchell, as the mayor of the town and Lloyd Bridges, as Harvey. This is a film to treasure. Was the above review useful to you? 57 out of 88 people found the following review useful: "Oh, To Be Torn Twixt Love And Duty" from Buffalo, New York 22 April 2006 On Marshal Gary Cooper's wedding day to Grace Kelly, Lee Van Cleef, Sheb Woolley, and Robert J.

Wilkie wait at the train station for the noon arriving train. It will be carrying their former gang leader, Ian McDonald who Cooper sent to prison and who's vowing vengeance. From the gitgo it's made abundantly clear that these are four nasty dudes who the town ought to deal with expeditiously. But the good elements of the town have grown fat and lazy and content to throw the responsibility of law and order on Cooper's shoulders. And he's quitting anyway, going on his honeymoon with his Quaker bride. A new marshal is going to arrive the next day. Why get involved. They want Cooper to just take his problem elsewhere. That view is probably best expressed by Thomas Mitchell in the scene at the church. Speaking of the scene in the church my favorite business in High Noon is when preacher Morgan Farley tells Cooper how dare he come into the church because a few hours earlier he didn't see fit to get married in that church. What a set of priorities. Grace Kelly had her breakthrough role in High Noon. She's a Quaker with deeply held pacifist principles. She's marrying a lawman, but one who's quitting that life. Her best scene in the film is with Katy Jurado who is Cooper's former gal pal.

Katy explains the facts of life to Grace about marriage and the duty of standing by your man, long before Tammy Wynette ever sung about it. When the time comes, Grace does the right thing. Like his rival in western films, John Wayne, Gary Cooper had one of the great faces for movie closeups. Back in the day it used to be a running joke about how Cooper's dialog used to be just "yep" and "nope." It was a good deal more than that. But High Noon's plot is carried quite a bit by the many closeup shots of Cooper. His face tells more than ten pages of speech and it keeps the tension of the film going. Man did not win two Academy Awards for nothing. Of course the theme of High Noon is also expressed in Dimitri Tiomkin and Ned Washington's Academy Award winning song, sung at times during the film by Tex Ritter. However the big hit record of the film was from Frankie Laine. I doubt there has ever been a movie theme song that expressed everything you needed to know about the motivation of the central character in the film. I don't think High Noon would have attained the classic status it has without that song.

Another great performance in the film is Lon Chaney, Jr. as the former town marshal, old and cynical, who'd like to help Cooper out, but at his age and health realizes he'd be more of a hindrance. He's the only one that Cooper understands and forgives. The final gun battle is choreographed like a ballet, it's that good. Maybe the best ever filmed. Can't describe it, you got to see it. The interaction of the town's responsibilities for maintaining law and order and Cooper's personal pride and integrity have been dealt with in various ways in other films. I'd check out Rio Bravo, Warlock, Death of a Gunfighter, Welcome to Hard Times, all of these take a different slant on the same themes. But personally I've always liked what the townspeople did in a Frank Sinatra film, Johnny Concho. That's what the people of Hadleyville should have done right at the start. Was the above review useful to you? 35 out of 46 people found the following review useful: "I've Got To.

That's The Whole Thing." from London, England 15 July 2000 The sombre ballad, the beleaguered marshall, the cold wife who deserts her man within an hour of marrying him ... "High Noon" is part of everyone's consciousness. Will Kane is the veteran lawman of Hadleyville, a small Kansas town that used to be the playground of bad men, notorious among them one Frank Miller. "This is just a dirty little village in the middle of nowhere," but Kane cleaned it up. Five years ago he had Frank Miller committed to a distant federal court on a murder charge. Today, as Kane weds his quaker bride, news arrives that Miller is free and heading for Hadleyville. His henchmen gather at the depot, and it becomes clear that Frank will arrive on the midday train, looking to settle scores with the marshall who arrested him. Should Kane leave town with his bride, thus avoiding trouble for himself and for Hadleyville? Or should he stay and face the Miller gang? Will the citizens rally round their marshall?

John Wayne famously criticised the film for being 'unAmerican', in that (in his view) a frontier community would not desert its lawman so abjectly. Implicit in Wayne's malediction is the notion that mainstream movies should promote wholesome patriotic values - a notion that led in Wayne's case to the debacle of "The Green Berets". Zinneman's acclaimed film probes the ugly side of human nature, "sifting out the hearts of men". Zinneman and Director of Photography Floyd Crosby devoted a lot of care to the look of the film, effort that paid off handsomely. From our first view of Lee Van Cleef as an ominous shadow on the horizon to the climactic cuts which seem to accelerate the arrival of the fateful train, this is a movie which speaks through images. The arid, flat expanses of Kansas mirror the impassive sky, and the town's rickety structures seem puny against the bleak magnificence of nature. Human wishes are vain in the face of Fate. Rail tracks extend with cruel exactitude into the distance, converging in perspective upon the vanishing point, the symbolic spot whence Frank Miller will materialise.

Lurking in the depot's shade, the dark presence which is the Miller Gang bristles with malice. Zinneman is not afraid of extreme close-ups, which he uses to reinforce moments of emotional power (Kane realising that he has no support, Helen refusing to beg). He shoots Kane predominantly from below waist height, stressing his tall, erect stance as a symbol of moral authority. Compositions are tight and attractive throughout. Gary Cooper was fifty-one years old and quite ill when "High Noon" was shot. He is, in truth, too old for the part. Gregory Peck had turned it down, and it is fascinating to imagine Peck as Kane. There is no rapport whatsoever between Cooper and Grace Kelly, and they make unconvincing newly-weds. "I won't be there when it's over," says the blushing bride, and though the script tries valiantly to give Amy a motivation (she became a quaker after seeing her menfolk gunned down), the abiding impression is of Kelly's prissy coldness. "High Noon" is, for an action western, surprisingly strong on character.

The judge (Otto Kruger) is clear-headed about running away from the Millers, and argues his position powerfully, yet his authority is punctured by his actions as he speaks - lowering the Old Glory, and concealing the scales of justice. Lloyd Bridges is excellent as Harvey, the deputy whose moral vision is clouded by lust for Helen and immature resentment of Kane. Katy Jurado never looked lovelier than here, playing the fallen woman Helen Ramirez who loved and lost Kane - and loves him still. A young Harry Morgan is Sam Fuller, the self-important coward who cannot face Kane. Marshall Howe (Lon Chaney Jr.) is the retired lawman who is now embittered and counsels Kane against throwing his life away for the sake of these undeserving citizens - "They just don't care!" In a cameo of pivotal importance that must have been great fun to play, Howland Chamberlain is the bitchy hotel desk clerk who hits Amy with a few home truths. James Millican is Herb, the dependable deputy who vacillates when the chips are down, and Jack Elam makes a fleeting appearance as the town drunk who sleeps through the entire drama.

One interesting plot development is the strange alliance which forms between Kane's two women. They meet in Helen's hotel room and decide to leave town together. Significantly, as they ride past Kane in the buggy, it is Helen who looks back, not Amy. It has been suggested that "High Noon" obeys Aristotle's three unities, especially that of time, the depicted events being capable of fitting into the film's ninety-minute span. Clocks are everywhere in Hadleyville, and the passing of the minutes is constantly emphasised. My only observation is, it remains ten minutes to twelve for an unconscionably long time. "The day cometh that shall burn like an oven," we are informed, and I for one found the film's climax rather disappointing after the intense build-up. "It's our problem because this is our town," declares a local worthy, but neither he nor anyone does anything about it. Zinneman's great crane shot, about halfway through the film, speaks more eloquently than the hollow words, zooming back to show a silent, friendless street, and one upright man, utterly alone. Was the above review useful to you?

Page 1 of 35: Discussing one classic film and its music score Film In Focus No. 11: 60th anniversary of HIGH NOON and Dimitri Tiomkin's film score In this FILM IN FOCUS article, Film music critic Roger Hall offers his personal view of this classic film and score. Following the discussion about the film is his CD review of the score. He has written extensively about Dimitri Tiomkin, including about his early film scores in Soundtrack magazine. The Film When I was a young lad and a frequent moviegoer, I was especially fond of westerns. The 1950s was a decade when many great westerns were made, such as SHANE and THE SEARCHERS . They were different from earlier ones because they concentrated more on character development and less on gunfights and other action. The film mainly responsible for the increased popularity of "adult" westerns from then on in films and on television was released in July of 1952.

I went to see that western starring Gary Cooper and Grace Kelly, and I didn't think I would like it much since I had been raised on mostly B-westerns like those with Gene Autry and my favorite, Hopalong Cassidy . But I came out of my local movie palace in a state of complete amazement that such a great western film had been made. What impressed me as much as the story and the acting, was the memorable music score by Dimitri Tiomkin. The famous title song by Tiomkin, with lyrics by Ned Washington, was available even before the film was released in 1952 and helped to sell the film. It has been suggested that the song's theme came from a Russian folk song. Does that really matter when the song is so memorable? There were two major recordings of "Do Not Forsake Me." First was the one made by Frankie Laine for Columbia Records, followed by one made by Tex Ritter (who sang the song on the film's soundtrack), released by Capitol Records. Both were tremendous hits and million-sellers. For those who may wonder what instruments were employed in the film version of the song, they were: novachord, guitar, and accordion.

Best Golden Age New Film Score of 2008 Dimitri Tiomkin's score is a constant force underscoring the film in its suspenseful buildup to the train arrival at noon, that is -- HIGH NOON. But the soundtrack itself has not released at the time and for years collectors have waited for this Tiomkin score. I was one of them. And now here it is --the first release of the full score from HIGH NOON. Much appreciation must be given to the composer's widow, Olivia Tiomkin Douglas, for granting permission to use the acetate discs, and all the others who assisted in the process of making the soundtrack available. In the Producer's Notes, it is stated that "after initial disc-to-digital transfer, repairs (removal of pops, clicks and scuffs), restoration (audio drop-out) of fidelity took place. " It is added that what remains are "a few fat chips and a few instances of high-end breakup." Yet there is no need for concern since, for its age, this soundtrack is in amazingly good shape. It is hardly necessary to go through the many outstanding cues of this soundtracks. I'll just mention a few of them.

The most crucial one is titled on this CD, "Two Minutes To Twelve" (track 27, 1:32). On the original cue sheets it is called "Clock Montage." This is the climactic cue of the clock theme which occurs in earlier cues, such as "Herb's Ready" (track 11, 1:13). There is also an appearance of one of Dimitri Tiomkin's favorite American folk songs, "Buffalo Gals," which he had used before in the holiday favorite, IT'S A WONDERFUL LIFE . In HIGH NOON, "Buffalo Gals"is heard on a tinkling piano in "Saloon" (track 24, 1:49). The score is mostly monothematic, with many developments or variation on the opening title song theme, especially the clock theme. The constant ticking played in the strings is a constant reminder to Will Kane (Gary Cooper) that his time is running out before Frank Miller (the perfectly cast Ian MacDonald) arrives on the noon train to come after Kane for putting him in prison. I discuss this clock theme (track 27) in my book, A GUIDE TO FILM MUSDIC .

What an effective device this is to convey the buildup of suspense! The music for the final gun battle , titled "First Shots Fired" (track 30, 6:49) raises the bar even higher in terms of excitement, a veritable explosion of variations on the title song theme. There are also two bonus track. One is a demo recording of Tex Ritter's singing the title song with just guitar accompaniment (track 31, 3:34). The other one is a rehearsal of the song with Ritter and Tiomkin and piano accompaniment. As already mentioned, the sound quality of this CD is in great shape, allowing you to hear all the details of this monumental score. Kudos to Ray Faiola, Lance Bowling, and Chris Lembesis for their outstanding work in bringing this excellent Tiomkin soundtrack back to life. It actually sounds like a brand new soundtrack, though obviously not in the latest recorded format. The 32 page CD booklet is extremely well designed with many fine illustrations from the film's shooting, sheet music for the song, and stills for the film itself.

The first part of the booklet contains an extended description titled: "Do Not Forsake Me, Oh My Darlin': HIGH NOON - The Back Story," adapted from a book about favorite movies by Rudy Behlmer. He provides a well balanced account of the film's preparation and also tells about Tiomkin's song and score. Following that description are 9 pages of notes about each of the 33 track titles. The design for the booklet is tastefully done and beautifully organized. All in all this is an outstanding accompanying booklet for this soundtrack CD. Among all the film composers who scored western films I believe Dimitri Tiomkin belongs at the top of the list. He had the ability to define the vastness of a western landscape, while also accenting the moods and shadings of character studies. Others followed his example, including Elmer Bernstein, Jerry Goldsmith, Alex North and even John Williams. But it was Tiomkin who first rode the range with his memorable western film scores of the 1940s and '50s, such as RED RIVER, GUNFIGHT AT THE O.K. CORRAL, RIO BRAVO, and THE ALAMO.

There is no greater example of Tiomkin's talent than in HIGH NOON, his greatest western score. This CD release is truly one of the great preservation releases of recent years. I'd suggest getting your copy while supplies last. It is too good to pass by. Highest Recommendation.

High Noon Lyrics by Frankie Laine High Noon (Do Not Forsake Me) -Artist: Frankie Laine as sung on "Frankie Laine's Greatest Hits" -Columbia CS 8636 -peak Billboard position # 5 in 1952 -Academy Award-winning title song sung by Tex Ritter in the film starring Gary -Cooper and Grace Kelly -Words and Music by Ned Washington and Dmitri Tiomkin Do not forsake me, oh my darlin' On this, our weddin' day Do not forsake me, oh my darlin' Wait, wait along I do not know what fate awaits me I only know I must be brave And I must face a man who hates me Or lie a coward, a craven coward Or lie a coward in my grave Oh, to be torn 'tweenst love and duty S'posin' I lose my fair-haired beauty Look at that big hand move along Nearin' high noon He made a vow while in state prison Vowed it would be my life or his'n I'm not afraid of death but oh What will I do if you leave me?

Do not forsake me, oh my darlin' You made that promise as a bride Do not forsake me, oh my darlin' Although you're grievin', don't think of leavin' Now that I need you by my side Wait along,(wait along) wait along Wait along, wait along (Wait along, ,wait along, wait along, wait along) Transcribed by Robin Hood These lyrics were transcribed from the specific recording mentioned above and do not necessarily correspond with lyrics from other recordings, sheet music, songbooks or lyrics printed on album jackets.

Question: Who sang the theme song of the film High Noon?
Answer: Tex Ritter