Introduction

1001 movies you must see before you die. Must I? Let's see.

My name is Dagmar and I am from Czech Republic. I have a bachelor's degree in screenwriting. I study movies. I watch movies. I write about movies. I kind of mention movies a lot. I even cross stitch things I like in movies. My views on cinema could be described as peculiar. My views on the "1001 movies" list as complicated. It happens a lot that I get the feeling it wasn't that necessary to see some particular movies. Sometimes I'm really grateful I saw them. And there are also times when I don't watch any new movies for six months straight. And they keep adding new movies every damn year so I might have to never die to watch them all.

What's the score right now?
606/1245 - That's 639 left to see.
I started this experiment on July 3rd 2009 and the latest update was made on April 19th 2023.

You can find the full list here.

Tuesday, 10 March 2015

High Noon (1952)

USA
directed by: Fred Zinnemann
written by: Carl Foreman
starring: Gary Cooper, Lloyd Bridges, Katy Jurado, Grace Kelly, Lee Van Cleef
commented on 10th March, 2015

So, the first thing I absolutely must comment on is Katy Jurado. I kept wondering where I know that defiant and fascinating face from - and she is that vigorous gunslinger from "Pat Garrett and Billy the Kid" that weeps to the tune of "Knockin' On Heaven's Door" that her husband's been shot. And the husband cries with her. I had a problem with that scene when I first watched the film, but it grew on me in time. And in connection with her performance in High Noon (when she says to Grace Kelly that if she had that kind of man, she would get a gun and go fight by his side!) she is now officially one of my favourite actresses/heroines.

But about the film itself. I can't do anything but admire that uncompromising straightforwardness on its way to the poignant finale. It tells the tale of cowardice deeply rooted inside comfort, but I also like the message that the path matters as much as the end goal, given how long the preparations for the confrontation last and how quick the fight itself is. 

The camera work is rather classic, but still delightful as heck. I love the ominous scene of the two women riding past the sheriff and looking back at him getting smaller and smaller in the distance. I really, really love the way the score is incorporated in the film. That dark variation on the main theme playing just before the train arrives - chef's kiss. And even just the intro constitutes a great piece of cinema, thanks to a great song and thanks to the fact that Lee Van Cleef might be bad, but he certainly is beautiful.

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