Disgusted by the cowardice of his former friends, Will tosses his tin star in the dirt at their feet, then leaves with Amy. Jurado started to appear in Mexican films in After 15 films in her native country, director Budd Boetticher saw Jurado attending a bullfight Jurado wrote about the subject for Mexican newspapers and cast her in his Bullfighter and the Lady , her Hollywood debut.
For much of her career Jurado alternated between the two film industries. She won three Ariel Awards Mexican equivalent to the Oscars and one special award.
She was married to Ernest Borgnine from the end of to summer Her movie career was brief but consisted of high-profile MGM musicals which guaranteed her a place in film history. Gray was born in Chicago on June 7th, and where, according to a common story, she was accidentally shot by a gangster as a child and had a bullet in her lung her entire life. As a teenager she began singing in California until Rudy Vallee featured her on his radio show. She had two small singing roles in Lady for a Night and Mr.
Skeffington but didn't really light up the big screen until It's Always Fair Weather even though Gray reportedly didn't much care for the role. Her rendition of "Thanks a Lot, But No Thanks," which has her gunning down a slew of male dancers on-stage and kicking them through trap doors, is a genuine showstopper.
That was it for Gray's film career. She kept busy with TV appearances mostly singing though she did one episode of the cult show Dr. Who and a busy recording and nightclub schedule. In , she appeared in a British production of Follies at Stephen Sondheim's request. He could be a total scoundrel, embodying Machiavelli's idiom that "it's better to be feared than loved" in the movies.
But as an actor he refused to be typecast and his wide range included characters who were secretly tormented The Pawnbroker , or loners Run of the Arrow , or eccentrics The Loved One , The Method technique, taught by Stella Adler and Lee Strasberg, insisted on complete immersion into the character's psyche and resulted in intense, dramatic performances and performers.
Steiger made his first significant screen appearance as Brando's older brother in On the Waterfront Their climatic scene together in a taxicab is one of the great moments in American cinema. It was a short leap from playing a crooked lawyer in On the Waterfront to playing the shady boxing promoter in The Harder They Fall Based on the tragic tale of true-life fighter Primo Carnera, The Harder They Fall details the corruption behind the scenes of professional boxing bouts.
Steiger is a fight manager named Nick Benko who enlists newspaperman Eddie Willis Humphrey Bogart in his final screen appearance to drum up publicity for a fixed prizefight. While the boxing scenes were often brutally realistic, the most powerful dramatic moments took place between Steiger and Bogart on the sidelines. As mob boss Al Capone , Steiger got to play another man you loved to hate.
He vividly depicted the criminal from his swaggering early days to his pathetic demise from syphilis. In Doctor Zhivago , Steiger was the only American in the international cast, playing the hateful and perverse Komarovsky. During the production of Dr. Zhivago , Steiger often found himself at odds with director David Lean. Schooled in the British tradition, Lean valued the integrity of the script and demanded that actors remain faithful to the script.
Steiger, on the other hand, relied on improvisation and spontaneity. When kissing the lovely Lara played by Julie Christie , Steiger jammed his tongue into Christie's mouth to produce the desired reaction - disgust.
It worked! While it might not have been Lean's approach, it brought a grittier edge to the prestige production and made Komarovsky is a detestable but truly memorable figure.
Steiger dared audiences to dislike him. As the smalltown southern Sheriff Gillespie in In The Heat of the Night , Steiger embodied all the prejudices and suspicions of a racist. When a black northern lawyer, played by Sidney Poitier, arrives on the crime scene, Gillespie is forced to recognize his fellow man as an equal despite skin color. Here, Steiger's character started as a bigot and developed into a better man.
Steiger was an actor's actor. A chameleon who didn't think twice about diving into challenging roles that others would shy away from.
In the Private Screenings interview he did with host Robert Osborne he admitted that Paul Muni was one of his idols because of his total immersion into his roles. Steiger said, "I believe actors are supposed to create different human beings. But as an actor he refused to be typecast and his wide range included characters who were secretly tormented The Pawnbroker, or loners Run of the Arrow, or eccentrics The Loved One, Zhivago, Steiger often found himself at odds with director David Lean.
But of course his Quaker bride Grace Kelly knows he's got to stay and fight it out, and the townspeople will stand with him at the showdown - or will they? This new 35mm print has been struck directly from the original negative, giving a look distinctly superior to any previous prints, including those of the original release. Normal release prints are struck from an intermediate negative to avoid wear and tear on the original.
In other words: we always knew Cooper was sweating - now you can count the drops! The appeal of the cowboy, with his unfettered life, straight talk, and unflagging bravery, has elevated the genre to the status of national myth.
Blake takes a look at three Westerns that galvanized the image of the heroic cowboy in the American conciousness- High Noon wherein Gary Cooper refuses to save his neck by fleeing from an old enemy , Shane featuring Alan Ladd's eponymous hero riding into a beleaguered town and righting wrongs and The Searchers in which John Wayne hunts the West for his abducted daughter. Blake focuses on how these films were made, who was involved, and what each movie added to the legend of the fearless gunslinger.
Blake whose father was an actor in High Noon goes behind the scenes at the making of each film, covering the battles fought by directors, the casting choices, the script changes, and more.
He also looks at the code of honor exemplified by each of the three protagonists; commenting on the heroes' actions in each story, Blake gives insight into the moral battle that lends greater resonance to the films. Throughout Code of Honor , Blake reveals remarkable details about each film. Legendary filmmaker John Ford denied any artistic aspirations, even when critics praised the beauty and craftsmanship of The Searchers.
Blake's examination of these three Westerns provides a greater understanding of their lasting popularity and their deserved reputations as classics.
Michael F. An Emmy award-winning makeup artist himself, Blake was raised and continues to live in Los Angeles. Code of Honor: The Making of Three Great American Westerns "Much has been written about the Western film, but Blake's focus and combination of passion and scholarship make this title truly unique. Blake takes a look at three Westerns that galvanized the image of the heroic cowboy in the American conciousness-High Noon wherein Gary Cooper refuses to save his neck by fleeing from an old enemy , Shane featuring Alan Ladd's eponymous hero riding into a beleaguered town and righting wrongs and The Searchers in which John Wayne hunts the West for his abducted daughter.
Throughout Code of Honor, Blake reveals remarkable details about each film. Quotes And in the end you wind up dyin' all alone on some dusty street. For what? For a tin star. It's all for nothin', Will. It's all for nothin'.
I'm tired of being pushed. How can you leave him like this? Does the sound of guns frighten you that much? My father and my brother were killed by guns.
They were on the right side but that didn't help them any when the shooting started. My brother was nineteen. I watched him die. That's when I became a Quaker. I don't care who's right or who's wrong. There's got to be some better way for people to live. Will knows how I feel about it. But he's a man.
And it takes more than big, broad shoulders to make a man. He and the cameraman didn't know it at the time, and barely got out of the way. The camera tripod snagged itself on the track and fell over, smashing the camera, but the film survived and is in the movie. The pained expression on Kane's 'Cooper, Gary' 's face throughout the film was entirely realistic, as Cooper had a bleeding ulcer at the time. According to a January 10, Hollywood Citizen-News article, actors James Brown, Roberta Haynes and John Daheim, all of whom are listed on Hollywood Reporter production charts, shot scenes for the film that were deleted before the final release.
In the article, Brown describes the deleted scenes: "They were to be intercuts all through the picture, the idea being that Cooper says he knows he can count on Toby his other deputy if he gets there in time. The cuts show me taking my time with fights and drinking beer at a stage coach 'stop' with Roberta. In the scene she lets me know that if I stay, the time won't be wasted as far as our romance is concerned. The entire picture as released takes place only in the town of "Hadleyville.
After the picture's release, many reviewers praised its effective employment of real time. Their appearance in the final film has not been confirmed. In a modern interview, Kramer and director Fred Zinnemann stated that they originally intended to photograph the film in color, but after some color sequences where shot, they switched to black and white for artistic reasons.
Many modern sources assert that High Noon 's plot and characters were a reflection of Foreman's experiences with the House Committee on Un-American Activities and his subsequent blacklisting in the Hollywood community. In an interview in Film History , however, Zinnemann stated that, to his knowledge, Foreman had no such aspirations, adding that "The politics The film's ballad, "High Noon," was a huge hit both for Tex Ritter, whose singing is heard throughout the picture, and for Frankie Laine.
A retired Marshal must defend his town from a revengeful villain. Dave Karger Intro -- High Noon Film Details. Jul 30, New York opening: 24 Jul Stanley Kramer Productions, Inc. United Artists Corp. Cunningham in Collier's 6 Dec Mono Western Electric Recording.
Black and White. Fred Zinnemann Director. Gary Cooper Will Kane. Thomas Mitchell Jonas Henderson. Lloyd Bridges Harvey Pell.
Katy Jurado Helen Ramirez. Grace Kelly Amy Fowler Kane. Otto Kruger Judge Percy Mettrick. Lon Chaney [jr. Henry Morgan Sam Fuller. Ian Macdonald Frank Miller. Eve Mcveagh Mildred Fuller. Morgan Farley Minister. Harry Shannon Cooper.
Lee Van Cleef Jack Colby. Robert Wilke James Pierce. Sheb Wooley Ben Miller. Tom London Sam. Ted Stanhope Station master.
Larry Blake Gillis. William Phillips Barber. Jeanne Blackford Mrs. James Millican Baker. Cliff Clark Weaver. Ralph Reed Johnny. William Newell Jimmy. Lucien Prival Bartender. Guy Beach Fred. Howland Chamberlin Hotel clerk. Virginia Christine Mrs. Virginia Farmer Mrs. Jack Elam Charlie.
Paul Dubov Scott. Harry Harvey Coy. Tim Graham Sawyer. Nolan Leary Lewis. Tom Greenway Ezra. Dick Elliott Kibbee. John Doucette Trumbull. Clem Beauchamp Prod Supervisor. Willis Cook Special Effects. Floyd Crosby Director of Photography. Emmett Emerson Assistant Director. George Emick Music Editor. Carl Foreman Associate Producer. Carl Foreman Screenwriter.
Sam Freedle Screenplay clerk. Harry Gerstad Editing Supervisor. Ben Hayne Art Director. Percy Ikerd Unit Manager. Joe King Men's Wardrobe. Stanley Kramer Company. Jack Merton Casting Director. Louise Miehle Hairstylist.
Nina Moise Dialogue Director. Gustaf Norin Makeup. Read all A town Marshal, despite the disagreements of his newlywed bride and the townspeople around him, must face a gang of deadly killers alone at high noon when the gang leader, an outlaw he sent up years ago, arrives on the noon train.
A town Marshal, despite the disagreements of his newlywed bride and the townspeople around him, must face a gang of deadly killers alone at high noon when the gang leader, an outlaw he sent up years ago, arrives on the noon train. Helen : You're a good-looking boy: you've big, broad shoulders. But he's a man. And it takes more than big, broad shoulders to make a man. Sign In. Play trailer Drama Thriller Western. Director Fred Zinnemann. Carl Foreman screenplay by John W. Cunningham based on the magazine story "The Tin Star" by.
Top credits Director Fred Zinnemann. See more at IMDbPro. Trailer High Noon. Photos Top cast Edit. Lon Chaney Jr. Morgan Farley Dr. Mahin - Minister as Dr. Mahin - Minister. Harry Shannon Cooper as Cooper. Robert J. Lee Aaker Boy as Boy uncredited. Ernest Baldwin Townsman as Townsman uncredited. Fred Zinnemann. More like this.
Watch options. Harvey Pell Lloyd Bridges , his callow deputy, refuses to get involved because he blames Will for impeding his career advancement. Harvey thought he would be a great replacement marshal; Will evidently thought otherwise. Martin Howe Lon Chaney Jr. Meanwhile, Amy sits and stews in the local hotel, threatening to leave town on the very train carrying Frank Miller to his date with destiny.
In the end, Will — with a little help from Amy, who decides to stick around and, better still, shoot one of the bad guys in the back — has to take care of business without any help from the lily-livered Hadleyvillians. He tosses his badge onto the street in a final gesture of disgust, and rides off with Amy to a better and presumably quieter life elsewhere.
The End. Cooper — then 50 years old, but looking even older — stoically endured a bleeding ulcer during filming, partly accounting for the generally mournful and frequently pained expressions that enhance the credibility of his performance.
After more than a half-century of revivals, revisionist reviews and made-for-TV remakes, High Noon continues to fascinate as a political allegory.
It was written by Carl Foreman, who subsequently endured a long spate of blacklisting for alleged Communist sympathies. Aside from its politics, High Noon remains noteworthy because of its formal structure.
All well and good, of course. Early on, High Noon none-too-subtly indicates that Will once had a major hankering for Helen Ramirez Kathy Jurado , a harshly beautiful and fiercely proud Mexican woman who used to dally with Frank Miller. Is that why Will arrested Frank in the first place?
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