The story of the classic western High Noon is as old as time: good versus evil. In this case it was one man, Will Kane, ex-sheriff of the town of Hadleyville, who chose to forsake the love of the woman he had just married to stay and fight a gang of outlaws determined to exact revenge because he knew it was the right thing to do. His new bride and the townsfolk, who were ostensibly his friends, urged him to flee, worried just as much (if not more) for their own well-being as his. It is told in real time, with frequent cuts to clocks marking the minutes ticking away as the situation becomes more dire.

While the film was rushing to make its production schedule for a 1952 release, a group of self-proclaimed “Red haters” was rushing to find out which members of that fairy tale industry were members of the Communist Party.

"...a fascinating examination, especially as Frankel chronicles the work of that all-American hero, Gary Cooper, who portrayed Will Kane. For me, and other movie buffs, High Noon is as much the story of this aging icon as anything else."

Glenn Frankel, who wrote the definitive history of The Searchers, another classic western, is known for his amazing amount of research. Here, he juxtaposes his narrative between the making of High Noon with that of Carl Foreman, who wrote the screenplay, served as a producer, and was subpoenaed by the House Un-American Activities Committee (HUAC) to “name names.”

Frankel alternates between the two storylines, and there are frightening parallels. Kane is one man, alone, who must stand up to the murderous bullies who threaten his existence, much like what Foreman and many of his colleagues had to deal with facing “the Committee”: people they thought of as longtime friends turned their backs by the mere hint of party affiliation. Whether such similarities were intentional or coincidental are matters for the reader to decide. Censors were always on the lookout for “hidden messages” that left-leaning writers, directors and actors tried to sneak in, but it’s difficult to believe, given the amazingly tight schedule, that Foreman was planting subliminal messages. It is only with the passage of decades that analysts can parse out such ideas.

It also begs the question: For whom is this book written? If Frankel wanted to present an account of how the “witch hunts” perpetrated by the U.S. government took its toll on the movie and entertainment industries --- causing numerous men and women in front of and behind the camera to be blacklisted, losing their livelihood and, in some cases, receiving prison sentences --- that would have been enough (although, to be honest, other books have covered that material). Where he shines is presenting the heartbreak of those victimized by those proceedings, how it tore families and friends apart. As Frankel writes, “It was almost as if High Noon were truly happening to [Foreman].”

If he was just telling the backstory of one of the most treasured movies in history (it ranked No. 27 on the American Film Institute’s list of the 100 greatest American films of all time), that would have been enough, too. Together, however, it almost seems like too much. Movie fans will enjoy the behind-the-scenes gossip that served to prop up the industry for decades, while the drama in Washington might come off as a classroom lesson. At the same time, those thirsty for knowledge of the activities of the HUAC might consider dishing the dirt a bit lightweight.

Put both halves together, however, and you get a fascinating examination, especially as Frankel chronicles the work of that all-American hero, Gary Cooper, who portrayed Will Kane. For me, and other movie buffs, High Noon is as much the story of this aging icon as anything else. Although Cooper was a conservative Republican who had no love for Communists (the roster of who was on which side can get a bit daunting), he nevertheless supported Foreman for his skills.