Unforgiven High Noon Essay

Have you ever wanted a bad memory erased? Is love erasable? These questions are attacked head on in the wonderfully complex drama Eternal Sunshine of a Spotless Mind. After working together on the film Human Nature, director Michael Gondry and screenwriter Charlie Kaufman discussed the possibility whether or not they would have their memory erased of a bad relationship should the opportunity present itself (dvdtalk). Out of that discussion a movie idea was formulated, pitched to a studio, and a film was created showing the potential impact of doing so. Through Kaufman’s brilliant and strange storytelling, Eternal Sunshine of the Spotless Mind takes its audience on a journey challenging us to ask: what would we do

For my at home movie I watched Hang em’ High directed by Ted Post. It is considered a spaghetti western that was made in America. In comparison to the film we watched in class, High Noon directed by Fred Zinnemann. These two westerns had many similarities and differences. From differences in how the movie was actually shot, to the similarity of how both of the main characters are loners, these two movies connect all over on many different levels.

The topic I have chosen to write about is in regards to the movie “High Noon.” This movie is timeless in its moral messages and can be relatively viewed in different ways. In numerous ways, it has been asked whether Marshall Will Kane should leave town or have a show down with this criminal Frank Miller? In theory, Will Kane is no longer the Marshall of that town as of that day. Some will argue that due to the next Marshall not arrived yet he still had an obligation to stay. However, I believe differently and have views I would like to explain why I see them in such light.

The universal hero is initially one of questionable moral standing. This person doesn't decide to be a hero, which is much different then deciding to be a leader; rather he is chosen by a greater force or entity to become one, perhaps a

In Amanda J. Cobb’s article titled “This is What It Means to Say Smoke Signals,” the author elucidates the significance of this film by showcasing the uniqueness of its story, creators, and contemporary representation of Native Americans in Hollywood film. Cobb brings to light the idea that this film was not only the first film to be written and directed by Native artists, but that it was the first to exercise the idea of self-definition and cultural sovereignty (207). The paper goes on to compare Smoke Signals to other films such as Powwow Highway (1989) as well as how its story either breaks old stereotypes or reinforces others in an uncommonly humorous and relaxing tone. Alongside these topics, Cobb’s piece also touches on critical questions

High Noon, a western film mostly respected by conservative viewers, and endlessly ranked over by critics. This was an exciting movie considering it was a black and white film. The whole movie was about the loyalty of a town marshal named Kane and the betrayal of the town. After watching High Noon, there were a lot of fallacies that were depicted through out the movie such as begging the question, ad hominem, slippery slope, and Inconsistency. The characters in the movie do a great job at portraying each of these fallacies.

The primary memory of United States’ westward expansion in the 19th century is one of triumph because it doubled the nation’s territory and increased trade. However, the Old West during the 19th century was characterized by America’s brutal obsession with expansion and the concept of American exceptionalism. In Blood Meridian by Cormac McCarthy, Judge Holden celebrates the human nature of violence and its necessity to find order in chaos. Blinded by the greed for control, he refuses to acknowledge the norms of civilized behavior. Similarly, under the principles of the Manifest Destiny, the U.S. government’s military interventions toward Native peoples overlooked violence. These parallels reflect the exceptionalist idea that one is inherently more virtuous and entitled to higher purposes. Historians and primary accounts confirm the parallelism that McCarthy draws between violence and American history. Therefore, preconceived notions about the positive aspects of American expansionism are overturned by the significance of its underlying violence.

It is commonly known that the American Wild West took place in the 1860’s and dragged on all the way to the early 1900’s. Through this time period there were gunslingers, prostitutes, and overall just a rough life for the people. They had to make money in any way they could, but movies about the Wild West often get that wrong. They glorify it, and make it seem like this time period was the best and easy to live in, but in reality nothing was the way that these films make it seem. The Wild West in the 1860’s is portrayed inaccurately in Hollywood’s films.

In Griffith’s film, the pioneers have a difficult time fighting the Indians, who ride in on horses and are armed with hatchets and other crude weaponry. That is because the pioneers use slow firing guns to face the large number of Indians, who strike quickly and forcefully. In the midst of the fight, the notion of captivity arises when the baby of a white woman is capture. The woman prays to God that her baby be saved and, as the fight rages on, a girl sees the baby and rescues it. This example of the savage Indian danger lurking in the wilderness, close to the Puritans, and others like it forcefully affect a change in the Puritan attitude to the frontier and establish a basis for other important myths that define the American frontier experience.

Joel Barish and Clementine Kruczynski were a couple in love. Everything changed when Clementine woke up one day and just decided to have Joel erased from her memory. He was “boring” and she wasn’t happy and wanted to move on. Joel then decided he wanted to also remove Clementine from his memory. This was all possible due to Lacuna Inc. who asked those wishing to remove a particular person from their memories to remove anything from their homes that could possibly be associated with that person. They sit the patient down, map out where memories are located that are associated with each object. Then, the company sends a couple of their scientists/psychologists to the home at night after they’ve fallen asleep. They then track down any remaining memories as they appear while asleep

In the film Stagecoach (John Ford, 1939) the Western characteristics of this film are that the cowboys in the film are resourceful and restricted to no one. They are fully competent of roaming the frontier on their own without having to rely on the securities of civilization. Yet they also have a code of honor; although they are ruggedly independent, the cowboys respect the rules of society and is unwilling to exploit others or to condone the careless disregard for human life exhibited by outlaws or stereotypically Indians.

Everything about Will Kane shouts hero. William meaning, "resolute protector” describes Kane perfectly. Which is why it is so incongruous that he spends the first portion of the film running away from the “bad guys”. As Kane and Amy ride out of town in the beginning of the film, the audience sees a battle rage on Kane 's face; he simply can’t run from trouble and leave the town he has served so long undefended. Kane returns to town, goes to the marshal 's office, and puts on his badge. His character can only briefly shy away from his sense of justice, before returning to the fight.

There are many ways to describe a hero, brave, valiant, trustworthy, dependable, strong, kind-hearted, and many more. These are just the same for western hero's, especially our hero's from 1952 High Noon. One of the many icons from this ancient film is Will Kane. Kane is a real mans man, always trying to do the best for his town. After he saved the town five years prior, he finds a wonderful woman he decides to spend the rest of his life with. Around the same time that our protagonist is starting to live a happy life, our antagonist rears his ugly head back into the story. Our valiant hero on his way out of town realizes he needs to stay in town and defend what he worked so hard to build up. During this whole film everyone who Will ask to

The hero of the film is Rick Santoro because even though yes he has been making decisions his whole life that hurts others. The definition of hero is character should be an admirable person with whom the audience can identify. While Rick does not really follow the description of a knight in shining armor, he still makes the right decision in the end and is willing to serve his time in order to see justice done.

When it comes to dark and dreary movies, very few directors have the capability to outmaneuver the sheer gloominess of Tim Burton. But, as of late, Guillermo del Toro has constructed and established a cheerless résumé that certainly puts him in the conversation of being the new, modern director of darkness.