Friday, February 24, 2017

INSIDE HIGH NOON by John Mulholland

HIGH NOON was hailed upon its release in 1952 as an instant classic. It won several Academy Awards, including one for its legendary star, Gary Cooper. It was named the year's best picture by the New York Film Critics Society. And yet, even though it's high on the American Film Institute's 100 Best Films of the Century, HIGH NOON's respect has been hard won, indeed. Perhaps no other classic film has had such a rocky road as this "simple little western."

Decried by influential auteurist critics and academics, HIGH NOON has been attacked for being untrue to the western genre - read anti-populist; for being "middle-brow" (whatever that might mean); for being social drama hiding behind the western genre - and muddled social drama, at that; for being the most un-American film ever made (courtesy of John Wayne), etc.

However, 56 years after its release, HIGH NOON still powerfully resonates with audiences around the world. When Solidarity needed a universal image to promote democracy and the right to vote in Poland in 1987, they chose Gary Cooper in HIGH NOON, a ballot in his hand rather than a gun. Conservatives and liberals both manage to cite HIGH NOON on the floor of Congress as a metaphor for their competing political ideals. Political cartoonists and headline writers inevitably use HIGH NOON as reference for countless crises. President Eisenhower cited High Noon as his favorite film, as have President Clinton and former Japanese Prime Minister Junichiro Koizuma.

On one hand, HIGH NOON has been attacked for being a conservative, damaging portrait of arrogant male paternalism. On the other hand, HIGH NOON is praised for challenging entrenched notions of gender, for exploring masculine anxiety, masculinity as a construct. Feminist critics and academics are offering intriguing and complex new readings to HIGH NOON.

Example: Amy Fowler (Grace Kelly) is having her new husband, Marshall Will Kane (Cooper), quit his career, leave his town, leave his friends, marry outside his church, and open a store of her choosing (wearing, perhaps, an apron?). Does Will Kane take on the villains at noon as a final gasp of masculine protest, as a declaration of independence from his wife's control?

Ernest Hemingway compared a story's meaning to an iceberg - like the iceberg, 7/8th of which lies hidden beneath the surface, 7/8th of a story's meaning lies beneath the surface.

Carl Foreman's bare-to-the-bones script and Fred Zinnemann's equally spare direction are a perfect film correlative to Hemingway's iceberg theory. This taut, seemingly straightforward little suspense western is complex, multi-layered, and perhaps even more relevant today than when it opened 56 years ago.

John Mulholland, writer/director
INSIDE HIGH NOON


Narrated by Frank Langella
Produced by Richard Zampella & Shannon Mulholland

Friday, January 16, 2015

"Richard Zampella" Producer, Announces Release of New Blu-Ray “Inside High Noon – Directors Cut” Narrated by Frank Langella, Directed by John Mulholland

Richard Zampella, Producer Announces Release of New Blu-Ray Inside High Noon – Directors Cut Narrated by Frank Langella. www.insidehighnoon.com

INSIDE HIGH NOON” is a documentary on the 1952 film HIGH NOON – Starring “Gary Cooper” & “Grace Kelly.” The behind the scenes documentary is Written/Directed by: “John Mulholland,” narrated by “Frank Langella,” produced by “Richard Zampella” and "Shannon Mulholland" with on camera interviews with “President Bill Clinton,” “Tim Zinneman” (son of director Fred Zinneman) “Jonathan Foreman” (son of screenwriter Carl Foreman) “Crown Prince Albert of Monaco” (Grace Kelly’s son) “Maria Cooper” (Gary Cooper’s daughter) “Brian Garfield,” “Lee Clark Mitchell,” “Stephen Prince,” and “Meir Ribalow.”


Shannon Mulholland Richard Zampella
On the Set of High Noon
Inside High Noon - Directors Cut | Directed by John Mulholland, Produced by Richard Zampella & Shannon Mulholland

HIGH NOON written by Carl Forman and directed by Fred Zinnemann was hailed upon its release in 1952 as an instant classic. It won several Academy Awards, including one for its legendary star, Gary Cooper. It was named the year’s best picture by the New York Film Critics Society. And yet, even though it’s high on the American Film Institute’s 100 Best Films of the Century, HIGH NOON’s respect has been hard won, indeed. Perhaps no other classic film has had such a rocky road as this “simple little western.”

HIGH NOON was hailed upon its release in 1952 as an instant classic. It won several Academy Awards, including one for its legendary star, Gary Cooper. It was named the year’s best picture by the New York Film Critics Society. And yet, even though it’s high on the American Film Institute’s 100 Best Films of the Century, HIGH NOON’s respect has been hard won, indeed. Perhaps no other classic film has had such a rocky road as this “simple little western.”


Richard Zampella
Fred Zinneman with Gary Cooper on set of High Noon
Inside High Noon - Directors Cut | Directed by John Mulholland, Produced by Richard Zampella & Shannon Mulholland

Decried by influential auteurist critics and academics, HIGH NOON has been attacked for being untrue to the western genre – read anti-populist; for being “middle-brow” (whatever that might mean); for being social drama hiding behind the western genre – and muddled social drama, at that; for being the most un-American film ever made (courtesy of John Wayne), etc.

However, over 60 years after its release, HIGH NOON still powerfully resonates with audiences around the world. When Solidarity needed a universal image to promote democracy and the right to vote in Poland in 1987, they chose Gary Cooper in HIGH NOON, a ballot in his hand rather than a gun. Conservatives and liberals both manage to cite HIGH NOON on the floor of Congress as a metaphor for their competing political ideals. Political cartoonists and headline writers inevitably use HIGH NOON as reference for countless crises. President Eisenhower cited High Noon as his favorite film, as have President Clinton and former Japanese Prime Minister Junichiro Koizuma.

On one hand, HIGH NOON has been attacked for being a conservative, damaging portrait of arrogant male paternalism. On the other hand, HIGH NOON is praised for challenging entrenched notions of gender, for exploring masculine anxiety, masculinity as a construct. Feminist critics and academics are offering intriguing and complex new readings to HIGH NOON.

Example: Amy Fowler (Grace Kelly) is having her new husband, Marshall Will Kane (Cooper), quit his career, leave his town, leave his friends, marry outside his church, and open a store of her choosing (wearing, perhaps, an apron?). Does Will Kane take on the villains at noon as a final gasp of masculine protest, as a declaration of independence from his wife’s control?

Ernest Hemingway compared a story’s meaning to an iceberg – like the iceberg, 7/8th of which lies hidden beneath the surface, 7/8th of a story’s meaning lies beneath the surface.

Carl Foreman’s bare-to-the-bones script and Fred Zinnemann’s equally spare direction are a perfect film correlative to Hemingway’s iceberg theory. This taut, seemingly straightforward little suspense western is complex, multi-layered, and perhaps even more relevant today than when it opened over 60 years ago.

John Mulholland, writer/director
INSIDE HIGH NOON

“The newly edited with added footage behind the scenes “INSIDE HIGH NOON- Directors Cut” documentary will be released Fall 2017 in Blu-Ray with numerous special features on the DVD” says producer Richard Zampella.

Gary Cooper, Fred Zinnemann & Grace Kelly on set of High Noon
Inside High Noon - Directors Cut | Directed by John Mulholland, Produced by Richard Zampella & Shannon Mulholland
INSIDE HIGH NOON
www.insidehighnoon.com
Follow on Twitter: @insidehighnoon

Produced by Richard Zampella & Shannon Mulholland

Saturday, December 20, 2014

SONY Execs should watched HIGH NOON before responding to Hack Attacks


High Noon (1952)
Sony execs should have watched High Noon before responding so cravenly to the hack attacks. They’d have known better than to cut and run. In the classic film, the town’s legal authority, the Judge -- who is advising Marshal Will Kane to cut and run – says: “this is just a dirty little village in the middle of nowhere, nothing that happens here is really important.”
Will Kane, who does not cut and run, knows better.

All the other Hollywood studios – every single one -- Sony’s alleged creative partners, who also cut like “craven cowards,” refusing to stand up for Sony, should have watched High Noon, too. As Helen Ramirez says to her ex-lover, the deputy Harvey Pell: “… Kane will be dead in half an hour, and nobody is going to do anything about it … and when he dies, this town dies, too.”
Unlike Sony, Helen Ramirez understood what makes a democracy work; understood why a democracy works.

In acceding to the demands of the hackers -- in cutting and running -- Sony execs have made it sadly clear that they do not understand what makes a democracy work. Because what happens to one single film studio in Hollywood – “this dirty little village” – matters, indeed.
-John Mulholland, Writer/Director

Wednesday, March 19, 2014

Wednesday, January 15, 2014

On the Set of "High Noon" Gary Cooper, Director Fred Zinnemann and Grace Kelly

On the set of HIGH NOON
Gary Cooper, Fred Zinnemann and Grace Kelly



INSIDE HIGH NOON A Documentary on the 1952 film HIGH NOON - Written/Directed by: John Mulholland Narrated by: Frank Langella Produced by: Richard Zampella & Shannon Mulholland. On Camera Interviews: President William Clinton, Tim Zinneman (son of director Fred Zinneman), Jonathan Foreman (son of screenwriter Carl Foreman), Crown Prince Albert of Monaco (Grace Kelly's son), Maria Cooper (Gary Cooper's daughter), Brian Garfield, Lee Clark Mitchell,Stephen Prince, Meir Ribalow
Follow us @insidehighnoon

Monday, January 6, 2014

William Faulkner quote on High Noon


“High Noon has all you need for a good story: a man doin’ something he has to do, against himself, against his environment.”  -William Faulkner

Gary Cooper in HIGH NOON

Inside High Noon, a documentary on the 1952 film High Noon.
Narrated by Frank Langella
Written & Directed by John Mulholland
Produced by Richard Zampella & Shannon Mulholland
On Camera Participants: President Bill Clinton, King Albert of Monaco, Brian Garfield, Jonathan Foreman, Tim Zinnemann, Maria Cooper, Lee Clark Mitchell, Stephen Prince and M.Z. Ribalow

Wednesday, December 18, 2013

INSIDE HIGH NOON

HIGH NOON was hailed upon its release in 1952 as an instant classic. It won several Academy Awards, including one for its legendary star, Gary Cooper. It was named the year's best picture by the New York Film Critics Society. And yet, even though it's high on the American Film Institute's 100 Best Films of the Century, HIGH NOON's respect has been hard won, indeed. Perhaps no other classic film has had such a rocky road as this "simple little western."

Decried by influential auteurist critics and academics, HIGH NOON has been attacked for being untrue to the western genre - read anti-populist; for being "middle-brow" (whatever that might mean); for being social drama hiding behind the western genre - and muddled social drama, at that; for being the most un-American film ever made (courtesy of John Wayne), etc.

However, 56 years after its release, HIGH NOON still powerfully resonates with audiences around the world. When Solidarity needed a universal image to promote democracy and the right to vote in Poland in 1987, they chose Gary Cooper in HIGH NOON, a ballot in his hand rather than a gun. Conservatives and liberals both manage to cite HIGH NOON on the floor of Congress as a metaphor for their competing political ideals. Political cartoonists and headline writers inevitably use HIGH NOON as reference for countless crises. President Eisenhower cited High Noon as his favorite film, as have President Clinton and former Japanese Prime Minister Junichiro Koizuma.

On one hand, HIGH NOON has been attacked for being a conservative, damaging portrait of arrogant male paternalism. On the other hand, HIGH NOON is praised for challenging entrenched notions of gender, for exploring masculine anxiety, masculinity as a construct. Feminist critics and academics are offering intriguing and complex new readings to HIGH NOON.

Example: Amy Fowler (Grace Kelly) is having her new husband, Marshall Will Kane (Cooper), quit his career, leave his town, leave his friends, marry outside his church, and open a store of her choosing (wearing, perhaps, an apron?). Does Will Kane take on the villains at noon as a final gasp of masculine protest, as a declaration of independence from his wife's control?

Ernest Hemingway compared a story's meaning to an iceberg - like the iceberg, 7/8th of which lies hidden beneath the surface, 7/8th of a story's meaning lies beneath the surface.

Carl Foreman's bare-to-the-bones script and Fred Zinnemann's equally spare direction are a perfect film correlative to Hemingway's iceberg theory. This taut, seemingly straightforward little suspense western is complex, multi-layered, and perhaps even more relevant today than when it opened over 60 years ago.

John Mulholland, writer/director
INSIDE HIGH NOON

www.insidehighnoon.com
Produced by Richard Zampella & Shannon Mulholland
www.richardzampella.com


INSIDE HIGH NOON A Documentary on the 1952 film HIGH NOON - Written/Directed by: John Mulholland Narrated by: Frank Langella Produced by: Richard Zampella & Shannon Mulholland. On Camera Interviews: President William Clinton, Tim Zinneman (son of director Fred Zinneman), Jonathan Foreman (son of screenwriter Carl Foreman), Crown Prince Albert of Monaco (Grace Kelly's son), Maria Cooper (Gary Cooper's daughter), Brian Garfield, Lee Clark Mitchell,Stephen Prince, Meir Ribalow
Follow us @insidehighnoon

Tuesday, December 17, 2013

Inside High Noon Review- DVD Active

Inside High Noon
A Documentary
Written & Directed by John Mulholland

Review by DVD Active
http://www.dvdactive.com/reviews/dvd/high-noon-ultimate-edition.html

‘Inside High Noon’ encompasses the film’s creation and value in a tightly edited fifty minutes. The behind the scenes tale is told, but at least half the Frank Langella narrated documentary is devoted to the film’s importance in the greater pantheon. There’s a lot of focus on the film’s political subtext (the film is listed as both Bill Clinton and George W. Bush’s favourite), but there’s also plenty of focus on the craft and achievements of every major member of the cast and crew. Since very few of the original players are around to offer up their humility, there’s a slight smugness to the doc’s assured knowledge that the film is important, but the interviewees, including the children of the stars and crew, and Bill Clinton, who knows a whole heck of a lot about the film, verging almost on a fanboy enthusiasm. Written & Directed by John Mulholland. Produced by Richard Zampella.

www.insidehighnoon.com

INSIDE HIGH NOON A Documentary on the 1952 film HIGH NOON - Written/Directed by: John Mulholland Narrated by: Frank Langella Produced by: Richard Zampella & Shannon Mulholland. On Camera Interviews: President William Clinton, Tim Zinneman (son of director Fred Zinneman), Jonathan Foreman (son of screenwriter Carl Foreman), Crown Prince Albert of Monaco (Grace Kelly's son), Maria Cooper (Gary Cooper's daughter), Brian Garfield, Lee Clark Mitchell,Stephen Prince, Meir Ribalow
Follow us @insidehighnoon





High Noon - 2 Disc DVD

High Noon - 2 Disc DVD
Release Date: June 10th, 2008