By Robert Oscar Lopez
American films of the 1940s and 1950s provide every allegory one needs. Take the 1952 classic High Noon, starring a particularly rugged Gary Cooper and beautiful co-stars Grace Kelly and Katy Jurado. Cooper plays Will Kane, an honorable marshal on the nineteenth-century frontier, who wants to retire with his Quaker bride, Amy, and turn in his badge. Upon learning that his beloved town Hadleyville is about to be attacked by outlaw Frank Miller and his posse, Kane decides he cannot accept a coward's departure. Even though it will risk his chances of a normal life with a wife and kids, Kane goes back to face the thugs, who he knows will strike at the arrival of the noon train.
In High Noon's climactic ending, director Stanley Kramer visualizes a timeless dilemma facing men of principle. What does one do when one faces a powerful, wicked enemy, and one's own "allies" refuse to help? This is the sad fate of Will Kane. His ex-lover Helen Ramirez and new bride Amy both want to flee town rather than be embroiled in a dangerous shoot-out. Whether they pay lip service to unity or flaunt their pusillanimity, the townspeople, bosses, and direct reports all forsake Will and leave him to face the town's nemeses alone.........Christians in America are a few minutes away from high noon. In our various ghost towns and rickety Main Street hideouts, we find ourselves increasingly stuck doing crowd control, surrounded by angry mobs pushing hedonism, abortion, sodomy, race war, Darwinism, and other heresies on us. This enormous gang of religion-haters is led by the ruling cadre of secularism, the well funded and shamelessly Machiavellian LGBT movement.....Read more
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