High Tide at Noon

This is a strange film for Rank to produce..It is difficult to work out who it would appeal to.Although there is location work there is a lot of process work. There are a lot of Rank contract actors trying to give an approximation of a Canadian accent.A film which has deservedly been forgotten about

A film shot in black and white about the economic challenges and risks which confront a fishing community in Nova Scotia. Thrown into the mix is a dull love affair which seems to limp along but without ever sparking interest. Some films are better shot in black and white, but given the dour plot and the uninspired acting, the film would have been enhanced by technicolour, since it would have least shown the dramatic and rugged nature of this rugged, but beautiful part of Canada. What was particularly irritating however, were several members of the British cast, all trying and failing to sound Canadian. The lack lustre storyline is not helped by the main lead, Michael Craig, giving a fairly wooden and unconvincing performance. The talents of Patrick McGoohan were wasted, playing a nasty and temperamental fisherman, but to be fair, the poor dialogue and the limited time he has on screen, didn't really give him the opportunity to develop his character. Patrick Allan, the perennial B film actor, comes in and out of the film without making any real impact! An underwhelming, low energy film, which fails to sustain interest.

This is the tale of the collapse of a fishing community from the eyes of a girl at the heart of it. Gentle and warming, though with some much darker scenes the film has that elusive quality which holds the interest of the viewer throughout. Like many Rank movies it falls more towards the TV movie than Hollywood showcase, but still far superior to a mere television work.

Not an award winner or a well-loved treasure, High Tide at Noon is nonetheless a very watchable film and an pleasant way to spend an afternoon. The actress does have a certain naivety, but that is part of the charm of the picture.

I recommend this movie to all those who yearn for a simpler time.

Having demonstrated a flair for drama against offbeat backdrops, director Philip Leacock was promoted to making this ambitious adaptation of Elisabeth Ogilvie's 1944 novel (the first of a trilogy of which only this was filmed), which although entered by Rank at Cannes has since fallen so totally off the radar it isn't in either Maltin or Halliwell's.

It's all rather dour, and perhaps the lack of children denied Leacock the inspiration that gave life to his earlier films. Although resembling a French silent film - or thirties British attempts at neo-realism 'Turn of the Tide' and 'Edge of the World' - to judge from the ammount of process work and studio exteriors, most of the interesting supporting cast plainly never left Britain for the dialogue scenes.