The Search (1948)

I am not one of those people who cry at the drop of a hat when watching a film. The high melodrama of most Hindi films, for instance, leaves me mostly cold. Lovers separated rarely elicit a tear, and people dying might make me feel vaguely sorry, but not much more.

What does make me feel really sad is when I see children in distress. Children lost, children helpless and in pain, children scared and hungry and lonely. (And yes, very importantly: child actors who do a good job of acting out these characters)… that is what can bring a lump to my throat.

And that is what The Search did to me.

Set in Berlin, just after the end of World War II, The Search begins with a large group of children, rescued from concentration camps and other places, being brought to an Allied shelter. Thin, ragged, their eyes huge and frightened, these children are, to all purposes, orphaned. Perhaps some of them do have a parent, long-separated from the child by the Nazis, but it will take time to find that parent. And in most cases, there is no hope at all: the child is all alone in the world.

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High Noon (1952)

I was – at least as far as emotional maturity is concerned – a baby when I first saw High Noon, and I didn’t care for it much then. Not that I wasn’t fond of Westerns; I adored Westerns. In book form, in cinema, in song. For me, the genre was all that was gloriously outdoorsy and never-say-die: cowboys and Comanche, Monument Valley, smoking barrels and rearing horses, the good versus the bad in that final gunfight. High Noon turned all of that on its head, and left me feeling uncomfortable and disappointed.

I didn’t realise till much later that that disappointment was not the disappointment of watching a film that was bad. Rather, it was the disappointment of discovering that what I’d been rejoicing in till then was not the ultimate in a genre. Some growing up had happened.
I have rewatched High Noon since then, and I’ve come to appreciate this film deeply. I still do like hard-core Westerns like The Good, the Bad and the Ugly and Stagecoach and The Magnificent Seven a lot – but High Noon is in a class all by itself.

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