Dish of the Day
Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Sunday, April 23, 2023
Today’s “Dish of the Day” was inspired by a recent post in our Facebook chat room (all readers are welcome to join here). A member correctly noted that the film Rio Bravo (1959), directed by Howard Hawks and starring John Wayne, was reported to have been made partly in response to what the duo found objectionable in High Noon (1952). It seems the member supported those findings, namely that a real lawman would not want or need to ask for help in handling a problem like Cooper's character is faced with in the earlier film.
A few other criticisms about High Noon followed regarding its simple premise and central conflict which prompted my response:
John Wayne as John T. Chance in Rio Bravo
“I enjoy immensely your thoughtful reviews. Why is it though that Rio Bravo has to be compared to the detriment of High Noon? High Noon has complexity too, notably in the form of Amy Kane, Deputy Harvey Pell and Helen Ramirez among others, who express thoughtful considerations and engage in some engrossing conflicts and shifting alliances. Cannot one admire both? Do you really see Rio Bravo as an effective response to High Noon? And if so, please tell us ‘why.’
Gary Cooper as Will Kane in High Noon
Personally, I think despite what might have been purported as criticism, on closer inspection looks fallacious (and a motion picture like High Noon being ‘un-American’ is absurd). Chance in Rio Bravo, by having the help of others who are or become truly capable of assisting him, does not compare to a lawman facing his enemies all alone as Kane (at least to his knowledge) is obliged to do in High Noon. In addition, there's the public’s clear preference that he leave town i.e. walk away (which opposes the duty Will Kane shows by staying and facing his rivals). One cannot credibly state that Kane is in any way dependent on his wife for help since he is shown not to want her anywhere near the conflict besides having accepted her beliefs toward non-violence. The fact that she puts herself in harm's way and even chooses to act against her faith during the final shootout are actions one might think would impress Hawks as he so often favours strong-willed female characters in many of his films… of all types. Kane is also shown to reject, for various reasons, a few others’ willingness to lend assistance which for myself, translates into courage. No, I think Wayne was just envious of a part he would have loved to have played and Hawks just wanted to show his support for Wayne. That and the whole Carl Foreman/HUAC thing * they read into its narrative. If one is to project some politicised interpretation of a film that doesn’t require any, at least make it a positive one.”
* Carl Foreman, the writer of High Noon, was one of a number of screenwriters blacklisted in the 1950s because of suspected membership in the Communist Party or at least what was thought by The House Un-American Activities Committee as having “un-American” communist sympathy.
High Noon is one of my Top Ten Westerns. The article, written up in three parts, starts here.
All responses are not only welcomed but encouraged in the comments section below.
Hope to see you tomorrow.
A.G.