Absolutely the worst movie.

A Major Disappointment

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Charles Bronson plays Graham Dorsey, one of a quintet of bank robbers. On their way to rob their next bank, his horse breaks its leg, and they stop off at a remote homestead to obtain a horse. Graham ends up staying at the house, and with its owner, Amanda Starbuck (Jill Ireland), while his comrades go on to commit the robbery. Initially very standoffish, Amanda soon warms up to Graham, an interesting character who shows that he can't be taken at face value. He and Amanda end up spending a very romantic three hours together (the "noon till three" of the title).When Graham rides off (ostensibly to save his fellow outlaws from the hangman), and then is later thought to be dead, Amanda fictionalizes their time together with the help of a writer. Since Graham had been embellishing some details, it's all too easy for Amanda and the writer to turn Graham into a hero of legendary proportions. Their story is published in book form and becomes popular all over the world. As a result, when Graham ventures back into the world after doing some time, he can't get anybody to believe that he's who he says he is, because the book made him out to be something that he's not!Scripted by director Frank D. Gilroy from his own novel, this is perhaps the ultimate teaming of real life couple Bronson and Ireland. As can be expected, they work very well together; Bronson has rarely, if ever, been this appealing. The role of Graham is a noted departure from most of the tough guy roles that he played. There are some good players among the supporting cast: Douglas V. Fowley, Stan Haze, Don 'Red' Barry, and Anne Ramsey in a bit, but this is primarily a charming vehicle for Mr. and Mrs. Bronson. It manages to be funny and poignant in equal measure, and is very well made technically, with a fine score by Elmer Bernstein and a touching song (music by Bernstein, lyrics by Alan & Marilyn Bergman) sung by Ireland herself. It also serves to point out the difference that can exist between myth and reality.Some Bronson fans might not care for this sort of material, but others should find it a delight to see him venture outside his comfort zone for a change.Eight out of 10.

I'm not the world's biggest Western expert, but I can count the number of Western love stories on one hand.Many Westerns might include a love element as a subplot, or toss a love story away blithely to demonstrate hardness, but this film is 100% a love story.Bronson brings a refreshing realistic 70s anti-hero attitude to his character, an outlaw who dreams that he's going to die in a robbery, and so bows out, stumbling on a jackpot of romancing a widowed and wealthy Jill Ireland. They fit as much romance as possible into 3 hours. The plot goes awry soon thereafter and does a really deft job of remaining unpredictable to the end.That Bronson and Ireland were married in real life just adds to their chemistry and tragic foreshadowing.This film should appeal to ladies, and could make a good date night film, if you can find it, and has enough action and twists to entertain men, unless they are also romantic, and then this film pulls at the heartstrings quite a bit, but generally avoids becoming totally syrupy, if slightly wacky at times.You really want to reach into the film and guide the characters away from danger, that's how engaging their romance becomes. There are other moments in which this film drifts refreshingly away from the many clichés of the average Western.I saw it on the THIS channel on Nov 5 2013, and I don't think I'd seen it since I was a kid in the 70s or 80s. It doesn't seem to get broadcast much.

I saw this at the drive-in many years ago as the support feature to 'Rocky', which I also unexpectedly liked. This wonderful little film caught me completely by surprise, since I had previously only known Bronson from his many boofhead action flicks. This beautiful little two-hander was a complete and delightful surprise, providing a fine showcase for the late, great Jill Ireland (a rather underrated actress IMO) and giving Chuck a rare chance to show that he was in fact a damn fine actor who was capable of much more than people gave him credit for. I can really only echo what others have said here -- it's a funny, intelligent, touching and very rewarding film that comes out of left field and will really surprise and please you if you give it a chance.

'From Noon till Three' is an interesting look at the cost of fame and the sensationalism used to brand a name… a legend, but it's the mistaken identities, perceived images and a second side to the story that makes the man of the legend a forgotten shadow. Sadly this seems to be quite an overlooked film, that's undeservedly neglected and criminally underrated. Frank D. Gilroy managed to adapt his own novel in writing the film's screenplay and then directing his inspired vision. Quite slight, but effectively assembled.A group of outlaws are heading to a town to rob a bank, but along the way one of the members; Graham Dorcey's horse brakes a leg. So doubling up, on their way there they come across a remote house owned by the stunning widow Amanda hoping to buy a horse. No luck (or that's what it seems) as Dorcy stays at the house to wait upon the gang to return after the robbery. What starts off as awkward becomes a delightfully meaningful three hours between the pair. However news comes through the robbery was botched, and to please Amanda he promises to go into town to see what he can do. However this causes a chain of events that would go down in folklore history.Formlessly peculiar, but charmingly breezy light-hearted western / romance with the smart material holding a satirical outlook to the genre's familiar conventions. However it chooses to play around with these staples, by turning them upside with amusing, but also downbeat (or bittersweet) results in what is quite an inventive structure. The message its got to say, probably does go on to take away from its fun, quirky set-up, but everything that occurs seems to come off with a fitting ending to all the uncanny things that have gone before it. A character-laced script, which is dialog hounded with a playfully adventurous attitude. This is truly Charles Bronson and Jill Ireland's film. The amount of time they get is boundless, as the focus is mainly on them with the heart-warming, natural chemistry (which couldn't be helped since of their budding marriage) breaking through. The interactions are what drives it, and holds it together. Bronson not in his usual role gives an affectionately bouncy performance and Ireland genuinely balances that uptight quality with ice-breaking warmness. The rest of the performances don't figure that prominently, but Douglas Fowley and Stan Haze leave their marks early on. Gilroy's direction is a steadfast effort clicking with a relax pace and Elmer Bernstein's majestically flavoured score is right on the money.