'From Noon till Three' is an interesting look at the cost of fame and the sensationalism used to brand a name
a legend, but it's the mistaken identities, perceived images and a second side to the story that makes the man of the legend a forgotten shadow. Sadly this seems to be quite an overlooked film, that's undeservedly neglected and criminally underrated. Frank D. Gilroy managed to adapt his own novel in writing the film's screenplay and then directing his inspired vision. Quite slight, but effectively assembled.
A group of outlaws are heading to a town to rob a bank, but along the way one of the members; Graham Dorcey's horse brakes a leg. So doubling up, on their way there they come across a remote house owned by the stunning widow Amanda hoping to buy a horse. No luck (or that's what it seems) as Dorcy stays at the house to wait upon the gang to return after the robbery. What starts off as awkward becomes a delightfully meaningful three hours between the pair. However news comes through the robbery was botched, and to please Amanda he promises to go into town to see what he can do. However this causes a chain of events that would go down in folklore history.
Formlessly peculiar, but charmingly breezy light-hearted western / romance with the smart material holding a satirical outlook to the genre's familiar conventions. However it chooses to play around with these staples, by turning them upside with amusing, but also downbeat (or bittersweet) results in what is quite an inventive structure. The message its got to say, probably does go on to take away from its fun, quirky set-up, but everything that occurs seems to come off with a fitting ending to all the uncanny things that have gone before it. A character-laced script, which is dialog hounded with a playfully adventurous attitude. This is truly Charles Bronson and Jill Ireland's film. The amount of time they get is boundless, as the focus is mainly on them with the heart-warming, natural chemistry (which couldn't be helped since of their budding marriage) breaking through. The interactions are what drives it, and holds it together. Bronson not in his usual role gives an affectionately bouncy performance and Ireland genuinely balances that uptight quality with ice-breaking warmness. The rest of the performances don't figure that prominently, but Douglas Fowley and Stan Haze leave their marks early on. Gilroy's direction is a steadfast effort clicking with a relax pace and Elmer Bernstein's majestically flavoured score is right on the money.
A group of outlaws are heading to a town to rob a bank, but along the way one of the members; Graham Dorcey's horse brakes a leg. So doubling up, on their way there they come across a remote house owned by the stunning widow Amanda hoping to buy a horse. No luck (or that's what it seems) as Dorcy stays at the house to wait upon the gang to return after the robbery. What starts off as awkward becomes a delightfully meaningful three hours between the pair. However news comes through the robbery was botched, and to please Amanda he promises to go into town to see what he can do. However this causes a chain of events that would go down in folklore history.
Formlessly peculiar, but charmingly breezy light-hearted western / romance with the smart material holding a satirical outlook to the genre's familiar conventions. However it chooses to play around with these staples, by turning them upside with amusing, but also downbeat (or bittersweet) results in what is quite an inventive structure. The message its got to say, probably does go on to take away from its fun, quirky set-up, but everything that occurs seems to come off with a fitting ending to all the uncanny things that have gone before it. A character-laced script, which is dialog hounded with a playfully adventurous attitude. This is truly Charles Bronson and Jill Ireland's film. The amount of time they get is boundless, as the focus is mainly on them with the heart-warming, natural chemistry (which couldn't be helped since of their budding marriage) breaking through. The interactions are what drives it, and holds it together. Bronson not in his usual role gives an affectionately bouncy performance and Ireland genuinely balances that uptight quality with ice-breaking warmness. The rest of the performances don't figure that prominently, but Douglas Fowley and Stan Haze leave their marks early on. Gilroy's direction is a steadfast effort clicking with a relax pace and Elmer Bernstein's majestically flavoured score is right on the money.