Twelve noon

from Wikipedia, the free encyclopedia
Movie
German title Twelve noon
Original title High noon
Country of production United States
original language English
Publishing year 1952
length 85 minutes
Age rating FSK 12
Rod
Director Fred Zinnemann
script Carl Foreman
production Stanley Kramer / United Artists
music Dimitri Tiomkin
camera Floyd Crosby
cut Elmo Williams ,
Harry W. Gerstad editing supervisor
occupation

See also: Casting and Synchronization

Twelve noon (original title High Noon ) is an American Western from 1952 by Fred Zinnemann . The black and white film was released in 1952, won four Oscars and is one of the most famous and renowned Hollywood westerns. It is based on the story 12 o'clock noon (The Tin Star) by John W. Cunningham and depicts the lonely fight of the town marshal Will Kane ( Gary Cooper ), abandoned by his friends, against his mortal enemy Frank Miller and his gangsters .

action

At the beginning of the film, narrated in real time , Will Kane, deserving and popular town marshal of Hadleyville, marries the Quaker Amy Fowler. He has previously given up his post for this, his successor will arrive the following day. But immediately after the wedding ceremony he received the news that the bandit Frank Miller, who was sent to prison by Kane five years earlier and has sworn revenge, had been pardoned and by train at noon (High noon) in the city will come. With three members of the Miller gang waiting at the train station, the wedding guests present urge Kane to leave town immediately and take his well-deserved retirement.

Kane gives in at first, but soon turns back despite Amy's vigorous protest. Amy, who rejects violence on principle, gives him a choice: Either he escapes with her, or she leaves the city alone - and with it him - on the 12 o'clock train. Kane decides to stay and fight, otherwise the city in which he was able to enforce law and order would fall back into the hands of the bandits.

In the one hour that Kane has left to find support, he finds that old friends, first and foremost the judge, prefer to go to safety instead. And the more men refuse to help him, the less willing the rest are to risk their lives. In the saloon , many stand with Miller and meet Kane with open hostility. In the church the pastor refuses to call for help because killing is wrong. Instead, many residents urge Kane to leave town with them. The young deputy - disappointed at not being his successor - even tries to knock Kane down. Only Jimmy, a drinker with an eye patch, and a 14-year-old boy are loyal to Kane, but he refuses to help.

Single businesswoman Helen Ramirez, once Miller's lover, later Kane's and at the time of the act the deputy, sells her company and also plans to take the 12 o'clock train away forever. When she fails to convince Kane to escape, she tries to persuade Amy to help her husband. But Amy is certain that only love can break the cycle of violence and revenge. Eventually both women board the train that Frank Miller takes to arrive in town. But at the first shot of the beginning gunfight, Amy leaves the approaching train and hurries back into town to help her husband.

With a few lists, Kane initially manages to shoot two of Miller's companions. Amy is able to kill the third gang member from an ambush - contrary to her religious beliefs. Frank Miller discovers Amy in her hiding place and takes her hostage. Kane now has to face Miller on the street, but Amy is able to fend off the bandit as she tries to tear herself away so long that Kane can shoot him. The remaining residents of the city come together to celebrate the victory, but Kane throws the Marshal star in front of them contemptuously and leaves the city with his wife.

Cast and dubbing

The German dubbed version was created in 1953 by Berliner Synchron . The dialogue book was written by Fritz A. Koeniger , the dubbing director was CW Burg .

role actor Voice actor
Will Kane , Hadleyville's longtime Town Marshal . Despite all warnings and alternative suggestions, he goes straight and almost stubbornly on his way, which leads him into the presumably hopeless fight against Miller. In the course of the film, he has to accept disappointments from many apparent friends, and he is often met with open hostility. Despite his success as a sheriff, he finds no support from the cowardly population. It is true that he saves the city from Miller; but finally he throws his sheriff's star on the ground and turns away from the village to start a new life with his wife Amy. Gary Cooper Wolfgang Lukschy
Amy Kane , Will's wife just married to him. Because half her family was killed in a shootout, she became a Quaker and fundamentally opposes violence. She wants to lead a peaceful and quiet life with her husband and open a shop, which is why he gives up his position as sheriff. In the small town she is more of a peculiarity because she is not only very pretty, but also looks finer and more educated compared to the other women. Amy tries to leave her husband on the train when he tries to fight Miller again. In the end, she decides in favor of her husband and against religious convictions, shoots one of Miller's people and thus saves her husband's life. Grace Kelly Margot Leonard
Helen Ramirez , the Mexican-born owner of the local hotel. Because of her origins, there was apparently some prejudice among the population against the somewhat mysterious and very independent woman. Once Frank Miller's lover, she then betrays him to her next partner, Will Kane, and is in a relationship with Harvey at the time of the action. She has no illusions about Miller's intentions and quickly leaves town. For Kane, she feels a slight regret in his seemingly hopeless fight and considers him a "real man". She blames Kane's wife, Amy, for not supporting him. Katy Jurado Elisabeth Ried
Deputy Marshal Harvey Pell , Will's assistant. He believes that Kane wants to prevent his promotion to sheriff because he is the current lover of Kane's ex-girlfriend Helen. In fact, Kane doesn't know anything about the relationship; rather, he denies him the promotion because he considers him immature and childish - a presumption that is confirmed in the course of the action. Helen tells him that good looks and broad shoulders don't make a man. Lloyd Bridges Klaus Schwarzkopf
Jonas Henderson , Hadleyville Mayor and Will's friend. The cowardly mayor shuns open confrontation with Frank Miller and does not want a bloodbath in his city. He therefore wants Kane to leave town as soon as possible so that there is no confrontation. Thomas Mitchell Hans Hinrich
Hadleyville Judge Percy Mettrick and Will's friend. The judge leaves the city a few minutes after the news of Frank's return because he once sentenced the criminal and is now afraid of his revenge. He predicts that Kane will not find support and is right. Otto Kruger Robert Klupp
Martin Howe , former Hadleyville Sheriff. He was role model when he was sheriff when he was a kid. In the meantime, as a shopkeeper, he has adjusted to an all too comfortable life with his wife, and when Will asks for help, he refuses, pointing out his age and health. Lon Chaney Junior Walter Werner
Frank Miller , Will Kane's opponent in the duel. His first goal is to get revenge on Kane, who once arrested him and then started a relationship with his girlfriend Helen. Although many villagers reject Miller, they are all afraid to stand up to him, and not a few also believe that the return of his gang will have positive effects, e.g. B. for the economy of the city. Ian MacDonald Martin hero
Ben Miller , brother of Frank Miller and a member of his gang. With James and Jack he waits for Frank at the train station and intimidates the villagers. Ben even dares to pay a visit to Gillis' wicked saloon, where he is received almost enthusiastically. In front of Gillis' saloon he meets Kane, whom he looks at mockingly and defiantly. Sheb Wooley Horst Niendorf
James and Jack Colby are the other two members of Frank Miller's gang. They wait with Ben at the train station for Frank and intimidate the townspeople. Robert J. Wilke , Lee Van Cleef Wolf Martini
Sam Fuller , who - when Kane knocks on his door for help - hides and forces his wife Mildred to tell the sheriff he is not in the house. A few minutes earlier he was a “good friend” at Kane's wedding. Harry Morgan Paul Edwin Roth
Mildred Fuller , Sam Fuller's wife. Her husband forces her to lie to his friend Kane that he is not there. Mildred is uncomfortable and Kane senses that she is lying. She then reprimands her husband for his cowardly behavior. Eve McVeagh
Dr. Mahin , pastor of Hadleyville. He allows Kane to recruit men to fight Miller during his Sunday mass. However, with reference to the commandment “You shall not kill!”, The pastor refuses to call on his believers to fight Miller, but at the same time says that the roles of good and bad are clearly divided. Morgan Farley Siegmar Schneider
Herbert "Herb" Baker , another friend of Will Kane. He does not deny that the city has become quieter for him and his children after Miller's disappearance, and he willingly allows himself to be signed as deputy sheriff. When he arrives at the station shortly before the 12 o'clock train and sees that no one else has contacted him, he withdraws his offer with reference to his young family. James Millican Fritz Tillmann
The receptionist at Helen's Hotel is critical of Kane because fewer guests have been staying at the hotel since Miller's gang was arrested. Amy is waiting for the train with him in the hotel lobby, and he makes hints to her about Helen and Kane's previous relationship. Howland Chamberlain
Sam , a resident of Helen's hotel and apparently her servant. The old Westerner does various services for her, so that Helen can leave town before Frank arrives, and proves himself to be a loyal support. He also asks Helen if he should help Kane, but she says no. Tom London
Ed Weaver is the general manager of Helens Hotel, which Helen sells to him when she leaves town. Weaver and his wife, despite previous reservations about Helen about her origins, now have good business relationships with her. Cliff Clark
The Hadleyville station master is visibly intimidated by Miller's gang staying at his station. Nevertheless, he tries to be as friendly and skillful as possible. He forwards the telegram announcing Miller's return to Kane. Ted Stanhope
Mr. Gillis is the owner of the local saloon, which mainly attracts the dodgy characters and where Ben Miller is warmly welcomed on his return to the saloon. When Gillis insults Kane, Kane knocks him to the ground. As much as he mocks him, Gillis gives the sheriff courage. Larry J. Blake Ralph Lothar
The Undertaker (undertaker) from Hadleyville is already having coffins made when he sees Miller's gang riding into the village. A few minutes before the duel, Kane is his customer. The undertaker treats him kindly, but lies to him that the noises in the next room come from handicrafts (in truth, the noises come from the coffin carpenter). William Phillips Clemens Hasse
Johnny , a 14 year old boy and Kane's errand boy. The brave boy wants to fight at Kane's side and tries to trick him into saying that he is already 16 years old. Kane refuses to help, but apparently thinks highly of the boy; for while he throws his star on the ground in front of the assembled village, he touches the boy and nods gently to him. Ralph Reed
Jimmy is a guest at Gilli's saloon and is apparently an alcoholic, with an eye patch on one eye. The embarrassed man offers to help Kane because he still has an old debt to settle. However, Kane does not accept the offer with a view to Jimmy's health. William Newell
Charlie , taken into custody on Kane's watch for being drunk. Asleep and locked in, he doesn't notice the events of the day, unlike everyone else in the film. Jack Elam Wolfgang Kieling
Cooper, a church goer Harry Shannon Walter Suessenguth
Trumbull, a church goer John Doucette Eduard Wandrey
Sawyer, a churchgoer Tim Graham Hans Emons
Ezra, a churchgoer Tom Greenway Franz Nicklisch
Coy, a church goer Harry Harvey Knut Hartwig

History of origin

Script and preparation

Since both the producer Kramer and the screenwriter Foreman were interested in the subject and title of the film, Foreman began to work out a first draft in 1948, which differed from the later film in some points. For example, the character of Helen Ramirez has not yet appeared. Initially, the script was not consciously based on John Cunningham's 1947 short story The Tin Star . However, Foreman's agent looked familiar and tracked down the short story. Foreman wasn't sure he'd actually read the story, and admitted that he might have unconsciously plagiarized it.

In May 1949, Kramer's first more concrete plans for the film finally began. It was also during this period that the title High Noon was considered for the first time. The film was finally made two years later. Kramer was to produce the film, and Foreman, who was now starting a newer, more concrete draft of the script, should also be named as a co-producer in the script. The team with whom Kramer had already produced Die Männer , including Fred Zinnemann, was re-signed for twelve noon . Previously, Mark Robson , Joseph Losey and Foreman himself had been discussed as possible directors. Kramer and Foreman took over the selection of the actors, trying to take Zinnemann's suggestions into account.

The further preparation essentially took place in three phases. First, the sequence of scenes planned by Foreman was discussed with Kramer, Zinnemann and the production designer Rudolph Sternad. Zinnemann then worked out a schedule in sketch form together with the equipment department. After further discussions with cameraman Floyd Crosby and the composer Dimitri Tiomkin, the sketches were completed and used as a shooting template. With this method, which Kramer had used in earlier films, the production time could be shortened and the production costs lowered.

Twelve noon was shot in black and white, like almost eighty percent of the films from that year. The normal standard format was also used; the anamorphic method was not used until a short time later. Crosby and Zinnemann opted for an aesthetic modeled on the photos by Civil War photographer Mathew Brady . Crosby was not persuaded to adopt a more traditional aesthetic. He turned down the use of filters, spotlights, and blurs because he wanted to try to mimic "the flat light, grainy texture, and white sky" of Brady's paintings.

Foreman's script work suffered from his precarious political position during the McCarthy era as early as the spring of 1951 - from 1938 to 1942 he had belonged to the Communist Party. Finally, in September 1951, he was summoned to the Un-American Activities Committee , where he refused to testify. Kramer, who initially supported Foreman on this matter, broke publicly with Foreman after the hearings. Foreman eventually received a $ 250,000 settlement a week after filming ended and was cut as a co-producer. In his favor the fact that he had personally acquired the rights to The Tin Star and had not yet transferred them to the production company.

Locations

While Zinnemann was still filming Benjy , he and Clem Beauchamp looked for suitable locations for the film in the American Southwest. Eventually they settled on the historic Mother Lode area near Sonora . The small town of Columbia was to serve as the backdrop for the street scenes in the western town of Hadleyville . Further backdrops, for example for the church, were found in nearby Tuolumne City and at the Iverson Ranch in Los Angeles. On a recent visit to Columbia in July, however, it was found that many of the trees that adorned the capital were now leafy. As this did not fit in with the visual concept of the film, it was finally decided to shoot the street scenes on Western Street at Columbia Studios .

Filming

Twelve noon had a budget of $ 794,000, 200,000 of which came from Bruce Church, a Californian lettuce grower who had helped fund The Men and The Last Musketeer . The budget was well below the average cost of a feature film, which was around $ 900,000.

In mid-July, it was announced that Cooper would take on the lead role after Kirk Douglas , Marlon Brando , Montgomery Clift and Charlton Heston had been named. Foreman had originally wanted to hire Henry Fonda ; Gregory Peck had already refused. Eventually, Gary Cooper was hired after he agreed to drop his fee claim from $ 275,000 to $ 60,000 for profit sharing. The appointment of other important employees such as cameraman Floyd Crosby and other actors followed in the next month, but occasionally dragged on into the production time. Grace Kelly only got confirmation of her engagement three weeks before filming started.

During this time, producer Kramer was in charge of five productions at the same time, three of which required his presence on location. Kramer therefore found hardly time for twelve noon and - according to reports - also little interest. Foreman and Zinnemann were therefore mostly left to their own devices, which, according to Foreman, led to a close and productive collaboration.

On August 28, production finally began with a one-week trial phase, in which Cooper surprisingly took part, although his contract did not require this. Actual filming finally began on September 5th and lasted four weeks. The shooting was productive, but the atmosphere was very tense. Cooper was plagued by arthritis, back pain, and a stomach ulcer. He was also worried about the separation from his wife and his affair with Patricia Neal . Ultimately, however, he benefited from this in his role, since Zinnemann wished he looked tired and worn out. Grace Kelly, who played her first major film role, appeared tense and withdrawn during filming. The tension was also exacerbated from outside: The cast of the main roles, the experimental visual style and Foreman's commitment as a screenwriter and co-producer met with criticism.

Post production

There is still disagreement about the exact sequence of post-production , as the events were presented differently by Kramer, Zinnemann and one of the two film editors, Elmo Williams. It is mainly about a short subplot in which another auxiliary policeman outside of town wastes his time and therefore does not arrive in time to help Kane. However, this scene does not appear in the final version. Zinnemann claimed that only a few takes of this scene had been shot before he gave it up because he didn't like it. Williams, however, said he cut out the scene because Kramer was disappointed with the rough cut. He also recorded the song Riders in the Sky by Burl Ives for the prologue to suggest a musical direction. Kramer then commissioned Tiomkin, who was already involved in the preparation of the production, to align the film music with a title song. In contrast, Kramer claimed to have been responsible for the final version himself. It turned out that the scene was superfluous.

Tiomkin worked again on the film music during this time. This finally resulted in the title song High Noon (Do Not Forsake Me) , which was interpreted for the film by Tex Ritter . The song was published for the first time in 1951 by Lita Roza , but first known in 1952 with Frankie Laine as the interpreter, as Ritter’s record company was not interested in a release. Ritter then recorded the song again for Capitol Records . Bill Hayes also released a version of the song for MGM , so the song was available in stores in three versions before it hit theaters in July.

Performance and reception

In April 1952, twelve noon was performed . In the third week of July, the film had its official premiere in New York and fell into a brief temperature drop during a heat wave, which helped the cinemas to attract high numbers of visitors at that time. Twelve noon was the third most successful newcomer in New York that week, but he lagged far behind Terror of the Division and Casanova unwillingly . On a list of the twelve most successful films in August 1952, which included values ​​from around 25 cities, twelve o'clock at noon came first. After all, the film brought its distributor United Artists the biggest financial gain since African Queen ; in the first 18 weeks he already made 2.5 million US dollars. In Germany, it appeared in the first week of January 1953. On June 11, 1965, the premiere took place in the Kosmos cinema in Berlin and thus the start of performances in the other GDR cinemas .

Reviews

source rating
Rotten tomatoes
critic
audience
Metacritic
critic
audience
IMDb

High Noon is still one of the best films of all time among critics. In the IMDb he was represented in the list of the top 250 for many years. From the American Film Institute was Noon listed in 2007 at number 27 of the 100 best American films of all time. In 1989 it was accepted into the " National Film Registry " of the American Library of Congress . Only films that are categorized as culturally, historically or aesthetically significant and thus particularly worth preserving for posterity are included in this archive.

Joe Hembus calls the film a “good western that has a high opinion of its own qualities.” The often cited formal peculiarities of the film, which is told in real time , such as the recurring cuts on the railroad tracks and on the clock, turned out to be “intrusive banalities”.

The film service, however, was far more enthusiastic:

“Zinnemann's 'psychological' westerns not only enriched the genre with new dramaturgical refinements (the unity of place and time is used in a virtuoso way to increase tension) and the then still unfamiliar type of 'broken' hero who doubts his mission, but also intensified it the moral aspects of the fable. In addition to its film historical value, the most popular and most award- winning film of the 1950s represents a bitter reckoning with the McCarthy era . The screenwriter Carl Foreman was on the communist hunter's ' blacklist ' in 1951 and has processed his own experiences in the material. "

- Lexicon of international film

Immediately after the premiere, the New York Times ruled :

"About every five years someone comes - someone with talent and taste as well as a full understanding of the legend and a lot of poetry in their soul - who takes a handful of clichés from the rich world of sagas of the Western and transforms them into a gripping, inspiring work of art within this genre. Such a rare and exciting achievement is Stanley Kramer's production 'High Noon'. [...] 'High Noon' is a western that challenges ' Stagecoach ' in the competition for the championship of all time. "

- Bosley Crowther , New York Times

In his history of western films, Thomas Jeier attempted to classify the film that neither joins exuberant hymns of praise nor accepts excessive criticism: “'High Noon' is also praised as a masterpiece by critics who have nothing else to do with westerns, although it is itself Lately there has been an increasing number of critical voices who want to get the film off its podium. You are right insofar as 'High Noon' is certainly not 'the best western ever', nor is it 'more than a western' or whatever other nonsense has been tapped about this film. The truth is: 'High Noon' is a damn good western, nothing more, but nothing less either. "

From the point of view of some critics, Cooper's character Will Kane is far too bitter, desperate, self-pitying and soft. This was true, among others, of Howard Hawks , director of some of the most important westerns. Therefore, as a declared counterpoint to twelve noon, he made his own film on the motif of the lonely sheriff / marshal fighting against seemingly overpowering opponents: Rio Bravo with John Wayne in the lead role. The main character in Rio Bravo is upright and heroic; Compared to High Noon, the film has a far more optimistic attitude.

Awards

In addition to its financial success, twelve noon also received many critical awards, which, however, were not without controversy given the political situation. In January 1953, he received the New York Film Critics Award and then came back to Hollywood theaters.

In March he received the Golden Globe for Best Score and the Screenwriters Guild Award from the Screenwriters Association . He also received four Oscars , including one for Gary Cooper for best leading actor, for Elmo Williams and Harry W. Gerstad for best editing, and for Dimitri Tiomkin in the category of best music for a dramatic or comedic film and - together with Ned Washington  - one Oscar for Best Song ( High Noon (Do Not Forsake Me) ) written by Dimitri Tiomkin (music) and Ned Washington (text). Twelve noon was also considered a favorite in the Best Picture category, with the award going to Director DeMille's Biggest Show in the World .

Surprisingly, even John Wayne found positive words for the film during the Academy Awards when he received the award for best actor on behalf of his friend Gary Cooper; Later, however, he vehemently rejected it, even going so far as to vilify it as "the most un-American thing he has ever seen in his life" and that he was glad that he had "driven out of the country the screenwriter Carl Foreman." ".

In 1989 the film was entered into the National Film Registry .

Aftermath

The six years later turned Western Rio Bravo by Howard Hawks with John Wayne in the lead role is regarded as a "response" to High Noon and is sometimes referred to as "anti-High Noon".

A second part and a remake were shot for American television . The unofficial second part High Noon Part II: The Return Of Will Kane was filmed in 1980 with the actor Lee Majors in the lead role. The film describes Kane's return to the city of Hadleyville and the conflict with the new marshal. The remake from 2000, starring Tom Skerritt as Will Kane , received mediocre reviews, like the second part.

The British science fiction film Outland - Planet of the Damned with Sean Connery is based on a largely similar story and is therefore also referred to as the "High Noon in Space".

High Noon is quoted at the end of Perdita Durango and in the action film Die Hard . Also, Spiel mir The Song of the Death of Sergio Leone - especially in the scenes at the beginning of the film when the bandits are waiting for the train - borrows from High Noon . The first sentence that the protagonist says to me in Spiel Das Lied von Tod - “Where is Frank?” - is actually hard to understand without knowing High Noon .

For their cartoon character Lucky Luke , Morris , Xavier Fauche and Jean Léturgie use the material in the 1993 story " High Noon in Hadley City ".

Others

  • Both Zinnemann and his cameraman Floyd Crosby almost died while filming. In the shot that shows the train approaching, both are lying on the rails with the camera. Further away you can see the train with white smoke, then black smoke. This black smoke was the engine driver's sign that the brakes were failing. But neither the director nor his cameraman knew this sign. While the two were able to save themselves at the last moment, the camera was destroyed. The recordings, however, remained intact and can be seen in the film.
  • The then only 27-year-old Lee Van Cleef played his first film role as one of Miller's gang members, albeit without dialogue. The later television series star Lloyd Bridges (Mike Nelson) can be seen in another supporting role as Deputy Marshal .
  • The film takes place between 1873 and 1877, which can be recognized by the weapons used (Colt Peacemaker 1873 and Winchester '73) and the US flag of the justice of the peace, which has 37 stars.
  • Former US President Bill Clinton said he had seen high noon seventeen times during his two terms in office .
  • The original title High Noon has become a metaphor for an exciting and decisive showdown in both German and English .

literature

  • Jean-Marc Bouineau, Alain Charlot, Jean-Pierre Frimbois: The 100 Best Western Movies . Heyne Film and Television Library, 32/159, Heyne, Munich 1991, ISBN 3-453-04935-7
  • John W. Cunningham: 12 noon. Original title: The Tin Star. In: John M. Cunningham, Louis L'Amour , Gordon D. Shirreffs , Will Henry , Wayne D. Overholser , Luke Short : 12 noon (High Noon). An anthology of the great western writers. Heyne, Munich 1969
  • Homer Dickens, Robert Fischer: Gary Cooper and His Films. ( The Films of Gary Cooper. ) Citadel Movie Books. Goldmann, Munich 1982, ISBN 3-442-10218-9
  • Philip Drummond: "Twelve noon". The myth and story of a classic film. (Original title: High noon. ) Europa, Hamburg 2000, ISBN 3-203-84104-5
  • Joe Hembus : The Western Lexicon. 1567 films from 1894 to the present day. Adult new edition Edited by Benjamin Hembus. Heyne Filmbibliothek, 32/207, Heyne, Munich 1995, ISBN 3-453-08121-8
  • Jürgen Müller (Hrsg.): Taschen's 100 film classics. Volume 1. Taschen, Cologne 2011, ISBN 978-3-8365-2399-8 pp. 308-313
  • Kim Newman: Twelve noon. In: Steven Jay Schneider (Ed.): 1001 films. Edition Olms, Zurich 2004, ISBN 3-283-00497-8 p. 279
  • Hans Helmut Prinzler: Twelve noon. In: Bernd Kiefer and Norbert Grob, with the collaboration of Marcus Stiglegger (Eds.): Film genres - Westerns. Reclam junior, Stuttgart 2003, ISBN 3-15-018402-9 pp. 154-160
  • Bernhard von Dadelsen: The New and the Old Times. The classic western: "Twelve noon", 1952 . Fischer Filmgeschichte, 3, 1945 - 1960. Ed. Werner Faulstich , Helmut Korte. Fischer TB, Frankfurt 1990, pp. 189-205

Web links

Commons : Twelve noon  - collection of images, videos and audio files

Individual evidence

  1. ↑ Note: There is no official German term for the editing supervisor function ; a direct translation would be editing supervision.
  2. ↑ Arndt Ellmer: Perry Rhodan NEO 07 - Escape from Terrania .
  3. ↑ Twelve noon (1952) in the synchronous database by Arne Kaul , accessed 26 July 2009
  4. ↑ Drummond, 2000, p. 40.
  5. ↑ Drummond, 2000, pp. 41f.
  6. ↑ Drummond, 2000, pp. 43f.
  7. ^ Zinnemann: Choreography of a Gunfight. In: Sight and Sound No. 1 (1996), pp. 16f.
  8. ↑ a b Drummond, 2000, p. 44.
  9. ↑ Drummond, 2000, pp. 42f.
  10. ↑ Drummond, 2000, p. 45.
  11. ↑ Drummond, 2000, pp. 46f.
  12. ↑ Drummond, 2000, pp. 50ff.
  13. ↑ Drummond, 2000, p. 49 and p. 55ff.
  14. ↑ Berliner Zeitung of June 11, 1965, p. 10
  15. ↑ a b [1] at Rotten Tomatoes , accessed on November 15, 2014
  16. ↑ a b [2] at Metacritic , accessed on November 15, 2014
  17. ↑ Twelve noon in the Internet Movie Database (English)
  18. ↑ List of the 100 best American films of all time
  19. ↑ Joe Hembus : Western Lexicon - 1272 films from 1894-1975. Carl Hanser Verlag, Munich / Vienna 1977 (2nd edition), ISBN 3-446-12189-7 , p. 737.
  20. ↑ Twelve noon. In: Lexicon of International Films . Film service , accessed May 20, 2019 .Template: LdiF / Maintenance / Access used 
  21. ↑ Quoted from Michael Hanisch, twelve o'clock noon, in: Systhema, printed in: Lexikon des internationale Films, 2001 (CD-ROM).
  22. ↑ Thomas Jeier: The Western Film. Heyne Film Library, 32/102. Heyne Verlag, Munich 1987, ISBN 3-453-86104-3 , p. 112.
  23. ^ Turner Classic Movies
  24. ^ The New York Times, April 25, 2004
  25. ↑ Michael Hanisch, twelve noon , in: Systhema , printed in Lexikon des Internationale Films 2001 (CD-ROM).
  26. ^ Morris (drawings), Xavier Fauche and Jean Léturgie (text). "Lucky Luke - High Noon in Hadley City" (episode 67, French "Les Daltons à la noce" 1993; Egmont Ehapa. Berlin. Reprint 2017).
  27. ↑ Lee Van Cleef - Biography
  28. ↑ http://www.redensarten-index.de/suche.php?suchbegriff=~~es+ist+High+Noon&bool=relevanz&suchspalte%5B%5D=rart_ou