Noon Wine (1966)

I don't have all the words right now but this film is a work of art.

Excellent, Without a doubt!!

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

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.)

For some reason "Noon Wine" isn't out on DVD yet.I hope that, given Peckinpah's popularity, it is only a matter of time until this is released, because it really is one of the best things he ever did both as a writer and director. Adapted from Katherine Anne Porter's short story, this is a dark, bleak tragedy set in 1890 Texas. The outcome of the simple story (which I won't describe) is predictable but still has a strong impact on the viewer thanks to the strength of the script, actors, and direction. It's especially surprising that "Noon Wine" doesn't have an official release since it was a major part of Peckinpah's career. He was viewed as an outcast following the troubled production of "Major Dundee" and was luckily hired by producer Daniel Melnick, a fan of Peckinpah's, to direct and write this adaptation for ABC. Peckinpah was nominated for directing and writing rewards by the respective guilds, and the critical success of "Noon Wine" led to Peckinpah being hired for his most famous and appreciated film- "The Wild Bunch". It would be simplistic to say that "Noon Wine" saved his career, but it wouldn't be (entirely) incorrect.Peckinpah's work here as a writer is particularly good, achieving a rare level of artistic depth, but his work as director is equally impressive, mute as his style is here in comparison to some of his other work. The film, which clocks in at 48 minutes in length, is immensely satisfying, more than most features are, in fact, partially thanks to Jason Robards. He considered it one of his most satisfying professional experiences, and I think it really is one of his finest performances, making this a must-see for all Robards fans as well as all Peckinpah fans. The short novel this is based on is definitely worth reading, but I can see why Porter enthusiastically endorsed Peckinpah's script for "Noon Wine", because it efficiently captures the essence of the story without ever being too stringently faithful, allowing for just enough flexibility for the film to work on its own terms. If you can find "Noon Wine" you simply must see it. 9/10

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.

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.