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The shallowness of Hollywood and the general retreat of the American psyche from Truth - an inability to see things how they really are, but rather the way they want things to be - is best exemplified by the distortion of the tragic heroic man in the western High Noon.

Directed by Fred Zinnemann in 1952, High Noon begins with Will Kane played by Gary Cooper, the longtime Marshal of Hadleyville, Kansas, having just married Quaker Amy played by Grace Kelly. Following their marriage Kane has decided to turn in his badge, and is preparing to leave the town and become a storekeeper. Shortly after, the people of Hadleyville learn that Frank Miller, a criminal Kane had previously brought to justice - but recently pardoned - is due to arrive on the train at noon. Miller had vowed to get revenge on Kane. Miller has also assembled three gang members. Hoping to defuse the situation the worried townspeople encourage Kane to leave.

Kane and his newlywed do leave the town but Kane suddenly has a crisis of conscience and turns back. He reclaims his badge and tries to get help. But no one is willing to get involved. Then his wife threatens to leave on the train with or without him but he refuses to give in.

In many respects High Noon resembles (and was probably inspired) by a certain section of the Iliad written by Homer. Andromache, the Trojan warrior Hector’s wife, realises that he is fated to fight the great Achaean warrior Achilles. Andromache understandably wants to hold Hector back from the battle to keep him in her secure world with their child. However, Hector will have none of it. Hector says he would not be able to face his people if he refused to fight,  seek glory and immortality. Like all good warriors Hector must do what he must.

However, this is where the similarities between High Noon the Iliad end.

In High Noon, Kane faces the gang alone. He guns down two of Miller's men; although, he is also wounded. Amy returns when she hears the sound of gunfire. She then overrides her pacifist religious beliefs and kills the third gunman. Miller then takes her hostage and offers to trade her for Kane. Kane agrees but Amy scratches Miller freeing herself. Kane then shoots and kills Miller. Kane then leaves town with his wife happily ever after.

In contrast to High Noon, Hector goes to meet Achilles, is slaughtered in a tumultuous battle and is horribly dragged around until Priam, Hector’s father and the King of Troy, comes to take the corpse for a proper burial. The crucial point is that Hector’s death is the whole point; whereas Kane does not die. He is even reconciled with Amy.

The heroic life is a constant pursuit of arete - an almost untranslatable word meaning virtue, excellence, power, courage and nobility. However, the Greek readers of Homer, rather than American viewers of High Noon, are left pondering the dilemma of the hero and their heroic code - a code which gives the hero wealth and status - but tragically leads him to death. There is a necessary tension in the Iliad  between the battle and the welfare of Hector’s family. More broadly heroic self assertion is in conflict with wider society. This tension represents one of the main tragic themes in epic poetry. However, this tension is neutralised in High Noon, helping to turn a profound statement of tragedy, into a trite fairy tale.

Although, there were increasing signs of Tragedy in later films, and even Westerns, in the 1960’s and 1970’s; American films have largely reflected the psyche of the average American or the psyche of the average American has been reflected in film. Nonetheless, they have been largely unable to comprehend the insights of Greek tragedy.

This in itself is an American Tragedy.