Political theory and film - A request for advice and guidance
I haven't done a lot of reading on any of thee three titles (I'm not particularly fond of High Noon or the Wild Bunch, but I think Once Upon a Time in the West is a masterpiece.)
But when comparing High Noon to other Westerns, it might be worth looking at films that were made in reaction to it within its own decade, as they helped pave the way for the transformation of the genre into its "apocalyptic phase" (as Robin Wood described the Wild Bunch) in the 1960s.
The impression I get is that, while High Noon was popular with the Academy and audiences, perhaps in part because of the way it was read in light of the McCarthyism of the day, it was not particularly well-respected by other makers of Westerns. At least two films seem to have been constructed as rebuttals.
More famous is Rio Bravo, whose director Howard Hawks was quoted on the Zinnemann film: "I didn't think a good sheriff was going to go running around town like a chicken with his head off asking for help." Its star John Wayne was even harsher: "It's the most un-American thing I've seen in my whole life." Rio Bravo is something of a reverse High Noon, in which the heroes refuse help instead of looking for it.
Another less-famous reaction is Budd Boetticher's Decision at Sundown starring Randolph Scott. Since Boetticher was a major influence on both Leone and Peckinpah, it may be worth trying to track down this film when drawing a line between High Noon and the films you've picked.
But when comparing High Noon to other Westerns, it might be worth looking at films that were made in reaction to it within its own decade, as they helped pave the way for the transformation of the genre into its "apocalyptic phase" (as Robin Wood described the Wild Bunch) in the 1960s.
The impression I get is that, while High Noon was popular with the Academy and audiences, perhaps in part because of the way it was read in light of the McCarthyism of the day, it was not particularly well-respected by other makers of Westerns. At least two films seem to have been constructed as rebuttals.
More famous is Rio Bravo, whose director Howard Hawks was quoted on the Zinnemann film: "I didn't think a good sheriff was going to go running around town like a chicken with his head off asking for help." Its star John Wayne was even harsher: "It's the most un-American thing I've seen in my whole life." Rio Bravo is something of a reverse High Noon, in which the heroes refuse help instead of looking for it.
Another less-famous reaction is Budd Boetticher's Decision at Sundown starring Randolph Scott. Since Boetticher was a major influence on both Leone and Peckinpah, it may be worth trying to track down this film when drawing a line between High Noon and the films you've picked.
An article in The Village Voice mentions that High Noon is the most popular film among American Presidents, and I am thinking of writing up a piece about the film's meaning to politics, and comparing it to other Westerns, specifically The Wild Bunch (my father's favorite Western) and Once Upon a Time in the West (my favorite Western). But I'd like to do some research on both the political/ideological background of the filmmakers involved in all 3 films, and how the films have been interpreted over the years. Obviously, I can do the research myself, but if any of you could point me in certain directions, I'd greatly appreciate it. Thanks!
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster