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Hollywood's post-war period was fraught with rising tension in social and professional circles, a time of paranoia and skepticism regarding one's colleagues, friends, and even loved ones. As the Cold War heated up, with highly publicized witch hunts claiming a number of victims via the Red Scare, the film industry became a national stage for making an example of those who'd dare sympathize with the Communist ideology. But during this time, a number of men and women blazed a defiant trail through a contentious environment, maintaining integrity and self-respect under persecutory circumstances. Released in 1952, the Gary Cooper-starring western, High Noon, found itself caught up in this political and cultural whirlwind due to the personal history of its screenwriter, Carl Foreman.

With a past that ultimately ran afoul of Hollywood's status quo at the time, Foreman's ideological leanings put him in the cross-hairs of controversy. A microcosmic film of its era, displaying themes and social undertones wholly relevant to the societal dynamics surrounding it, High Noon remains a shining example of art imitating life, and eventually for Foreman, an allegorical work of fiction that would reflect his trajectory in Hollywood.

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Set in 1898 in the small western town of Hadleyville, High Noon tells the story of Will Kane (Gary Cooper). Having just retired as the town's Marshall and tied the knot with Amy (Grace Kelly), Kane's plans for a peaceful future come to a screeching halt as an old foe from his past suddenly resurfaces. Frank Miller (Ian MacDonald), whom Kane sent to prison years before, has been released and is rumored to be on his way to Hadleyville via the noon train. The outlaw's impending arrival sends the town's residents into a frenzy, with many either opting to flee altogether or abandon Kane as he attempts to enlist help.

As the narrative unfolds in real-time, and the walls of fate close in, Kane wrestles with a moral dilemma, forced to choose between self-preservation and personal integrity. While the easy choice would simply be to get out of dodge and avoid the consequences of his past, albeit at the expense of the safety of those in town, the retired Marshal decides to stay and face the oncoming threat alone. Outnumbered and with the odds stacked against him, Kane's stance in the face of overwhelming odds proves a perfect parable for Hollywood players who, at the time, were compelled to inform on their friends and colleagues or risk losing their careers.

Born and raised in Chicago, Carl Foreman eventually made his way to Hollywood and struggled as a writer in the 1930s. After training with the League of American Writers, an organization founded by Communists in 1935, the young Foreman worked as a script doctor for MGM. While working on U.S. Army films during World War Two, he met and befriended fellow film lover Stanley Kramer, and the two men pursued a vision of filmmaking independent of major studios. Kramer founded his own company, Screen Plays Incorporated (later Stanley Kramer Productions), and he and Foreman soon went to work on their own projects.

Finding success with films like Champion and Home of the Brave, Kramer and Foreman developed a knack for good writing and efficient filmmaking on shoestring budgets. After signing director Fred Zinnemann to a three-picture deal, next on their slate was High Noon with Zinnemann at the helm. While developing the film's script, taking inspiration from Hollywood's increasing tendency to attack and oust political dissidents, Foreman eventually realized that his evolving narrative bore similarities to John W. Cunningham's short story, The Tin Star. Presumably, to avoid accusations of plagiarism, the screenwriter bought the rights to Cunningham's story and proceeded with crafting his own.

The script for High Noon generated buzz in Hollywood, and the combined power of Stanley Kramer's producing talents and Carl Foreman's writing secured funding and star power. Gary Cooper, then an aging but highly respected actor who recognized a good script when he read one, accepted the role of Will Kane for $100,000. After rounding out the cast, which included a then-21-year-old Grace Kelly, shooting for the film commenced in 1951. But as production was underway, Foreman suddenly found himself in the throes of a political witch hunt, and as a result, at odds with his friend and creative ally, Kramer.

By 1951, the House of Un-American Activities Committee, a congressional overseer dedicated to investigating political dissidents in the United States, was hard at work weeding out individuals it considered threats to national security. As High Noon rolled cameras, Carl Foreman received a subpoena by the committee, and as a disillusioned former member of the Communist Party, would be expected to testify and answer questions about his political affiliations. The timing couldn't have been more ironic in considering High Noon's socially-conscious subtext about mob psychology, and one man's efforts to stand in its way.

Realizing he'd be under a harsh spotlight, Foreman told his colleagues about the subpoena. While he had support from Fred Zinnemann and Gary Cooper, the latter of whom was a conservative Republican and even offered to testify on Foreman's behalf, it was Stanley Kramer, a staunch liberal, who showed hesitance to back his friend. Foreman planned on using the Fifth Amendment to avoid answering questions altogether, a strategy Kramer feared would backfire and make his friend appear suspicious. The two men were also quarreling over High Noon, and Foreman ultimately inserted bits of his current dilemma into the film's narrative. He recalled, "A lot of the dialogue was almost the dialogue that I was hearing from people and even in the company. You could walk down the street and see friends of yours recognize you, turn, and walk the other way.

As High Noon entered its second week of production, the decision was made to have Foreman resign and forfeit his stock holdings in the production company. But a short time later, the decision was reversed due to legal formalities (Foreman never signed an official contract that would defer a portion of his salary). Between a rock and a hard place, Kramer begrudgingly brought Foreman back on board as writer and associate producer. Though their relationship would never be the same, they agreed to wait 60 days and let the situation play out. Foreman implored Kramer, "Let's fight as long as we can."

On September 24, 1951, Carl Foreman testified before a committee in Los Angeles. Donning a suit and what he described as "a very sincere tie," he denied being a Communist and invoked the Fifth Amendment when asked about political affiliations prior to 1950. While declining to slander the Communist Party, he did confess he'd report anyone he suspected of committing treason. Refusing to buckle under pressure, Foreman's testimony lasted an hour. The following day, however, he discovered that he'd once again been removed from High Noon's production and that his colleagues threw him under the bus. Though he retained credit for his screenplay, Foreman lost his associate producer credit and ultimately received a $150,000 settlement.

Released in 1952, High Noon was a hit with critics and audiences. While not loved by some (John Wayne reportedly hated the film and labeled it "un-American"), it was nominated for seven Oscars, including Best Screenplay for Carl Foreman. The film would take home four awards, one of which was Gary Cooper's second for Best Actor. Ironically, John Wayne accepted the award on his friend's behalf and graciously noted, "Im glad to see that theyre giving this to a man who is not only most deserving, but has conducted himself throughout the years in a manner we can all be proud of." Though Wayne disliked the film, his statement commending Gary Cooper couldn't have been more spot-on, considering that the actor was arguably Carl Foreman's greatest ally throughout the ordeal involving HUAC. When Foreman later expressed interest in starting his own company, Cooper even offered to invest in it until intense pressure and public scrutiny convinced him otherwise.

Just months after being blacklisted, Carl Foreman moved to London. Despite his controversial status, he continued to work throughout the years, famously co-writing 1957's The Bridge on the River Kwai along with fellow blacklisted screenwriter Michael Wilson and the author of the film's source novel, Pierre Boulle. The epic war film won seven Oscars, including Best Picture and Best Screenplay, although Foreman and Wilson's controversial status in Hollywood meant they wouldn't receive awards for their work. But on June 25, 1984, the night before Foreman died of a brain tumor, the Writers Guild of America announced it would restore Foreman and Wilson's writing credits. Speaking on her husband's behalf at a ceremony the following year, Michael Wilson's widow said, I trust that you younger men and women will shelter the mavericks and dissenters in your ranks and protect their right to work. The nation will have need of them if it is to survive as an open society.

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The Red Scare Led to One of the Greatest Westerns of All Time - Collider