Alicia I love this movie so much

Linbeymusol Wonderful character development!

Platicsco Good story, Not enough for a whole film

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Bill Slocum The missing link in many a collection of Sam Peckinpah movies, "Noon Wine" presents a rare television adaptation from the director that carves out new thematic territory for a man who made his mark with action-oriented westerns. Too short a piece to be compelling on its own, "Noon Wine" nevertheless engages you and gives you food for thought.The film opens on the dairy farm of Royal Earle Thompson (Jason Robards), lazy but amiable. Out of the blue appears a man named Helton (Per Oscarsson), looking for work. Helton doesn't say much more than "that's alright," and seems to have a temper where his precious harmonicas are concerned, but he's a hard worker. Thompson and his family come to like the guy. Inevitably, however, Helton's mysterious past comes back to haunt them all."Noon Wine" is a short film of two leisurely-developed halves, broken up by a ten-minute interlude of violence and suspense. The first 20 minutes present a comedic take on Thompson, who explains his laziness as a matter of conviction. "I don't change the diapers on my kids so why should I try to wean a calf?" he asks reasonably.Peckinpah sets up well the drama of Helton settling in as Thompson's nervous but sincere wife Ellie (Olivia de Havilland) looks on and helps out where she can. Helton's so close-mouthed he provokes a viewer's suspicions, but you root for him anyway because of the way both Oscarsson and director-writer Peckinpah set up the situation.The film's second half comes off as sudden and rushed, mostly because it was made to fill 50 minutes of television time but also because the original story, by Katherine Anne Porter, is designed to suck you in only to break your heart. Porter liked misery more than I do, and perhaps that's why "Noon Wine" leaves me a bit cold, but I also think if you are going to make a sad film you need more time than this for it to play out right.Still, this is a solid dramatic piece highlighting powerful feelings of alienation and isolation, with a texture and feeling all its own. Peckinpah was a great director but even better editor and "Noon Wine" makes this point well. He doesn't have room here for long, drawn-out scenes, so instead he finds ways to economize, both with brief but effective montage sequences and with short dialogue exchanges that take place just on the heels of bigger scenes we never see.Though tinged with the same note of sadness as Peckinpah classics like "The Wild Bunch" and "Ride The High Country," "Noon Wine" doesn't play like typical Peckinpah. Its violence is more emotional than physical. The relationship between Royal and his wife suggests some of the issues Peckinpah had with women on and off-screen, her very rightness being something of a turn-off; but there's a playfulness between the couple, too, like when Royal complains about Ellie's mouthy grandmother:"She'd just say the first thing that popped into her head and call it God's wisdom," he teases. "Suppose you'd be in church, thinking about a hen and a rooster?"The best thing to be said about "Noon Wine" is you wish it took longer to develop, even if you know it's only going to run you up short at the end. As it is, it marks a unique if minor signpost in the development of a great artist.

jacegaffney There are three clinching proofs of Peckinpah's genius as dramatist and director, RIDE THE HIGH COUNTRY, THE WILD BUNCH and this made for television adaptation of Katherine Ann Porter's tragic novella (with her collaborating with the director on the teleplay). It is, arguably, the most emotionally convulsive short story (along with "Bartleby The Scrivener") ever written by an American and Peckinpah achieves in this TV version something akin to Faulkner's AS I LAY DYING as if directed by Bergman. The ending is unforgettably shattering. This was one of the entries of the unfortunately short-lived ABC omnibus series, 'Stage '67, that ran for exactly one year. This series also included the Sondheim-Anthony Perkins musical whose name escapes me at the moment but more importantly, an absolutely marvelous version of a John Le Carre story entitled DARE I WEEP, DARE I MOURN, starring Jill Bennett and, in the role of the protagonist, James Mason in a performance as cathartic as Jason Robards' is in NOON WINE. I refreshed my memory of both of these highpoints in the history of American television about fifteen years ago at the Museum of Television and Radio in New York City. I believe this is the only way one can see them today which is a dreadful fact in the face of their extraordinary merits. (The copy of NOON WINE was a personal one of Robards donated to the museum posthumously.)

Neil Doyle I saw NOON WINE when it originally aired in 1966 and haven't seen it since, so my memory of it has dulled over the years.But I do recall that I was not as impressed overall by the bleak story as some of the viewers seem to indicate--nor was I pleased with the screen version of Katherine Anne Porter's SHIP OF FOOLS which in no way lived up to the novel.I do recall that JASON ROBARDS, JR. seemed to have the principal role which, of course, was given the most footage whereas OLIVIA DE HAVILLAND, THEODORE BIKEL and PER OSCARSSON had more peripheral roles as the unfortunate people caught up in the tragedy. Olivia, as a farmer's wife, had another one of her less glamorous roles, just two years after appearing as Cousin Miriam in HUSH...HUSH, SWEET CHARLOTTE, and it was the sort of role that required her to appear more like she did in THE PROUD REBEL.Other than that, while it may have appealed to fans of the Katherine Anne Porter short story, it was a bit heavy-handed to qualify as entertainment for the masses although the acting was good. Too bad it is not available for viewing by the general public today, but it was no masterpiece.

mpgmpg123 This was an excellent adaptation of the Katherine Ann Porter short story. It was perfect for the old anthology format. I saw this at the Museum of Television and Radio in New York. It concerns a farm couple and a murder, won't say much more than that or might ruin the plot. But Jason Robards was excellent as always in the role of a rough farmer who makes a mistake and tries to right it. And then there was Olivia de Havilland in one of her last real starring roles, and her first role on television. It is too bad she did not accept more roles in television around this time. She is Robard's wife, a former school teacher in one is essentially a loveless marriage that she has resigned herself to due to duty to marriage and her children. It is a great performance of hers, one of her best in television that ranks with her roles in Roots and Anastasia in her ability to touch your emotions. See this one if you ever get the chance! A real treat for de Havilland fans.