Sombras de sospecha

Michael Anderson does a great job with this Hitchcockian melodrama, that even boasts a musical score reminiscent of Bernard Herrmann.

THE NAKED EDGE was, sadly, the against type epitaph to Gary Cooper's memorable career as an actor. Although he was dead by the time the finished film hit the screens, and he shows signs of some physical decay, Coop retains his economy of gestures and the expressive eyes. I found it odd that Kerr's name should come first in the opening credits, after all Coop had won two Oscars by then, while Kerr never picked up the statuette. At any, Coop and Kerr complement each other's acting, he as the hubby who appears to have something to hide, she as the doubting wife. The always dependable Portman as the heavy, Cushing as the prosecution lawyer, and Diane Cilento as the wife of the wrongly accused man complete the great cast.

Interesting to compare Cilento's instinctive defense of her husband with Kerr's instinctive condemnation of hers.

The story is not that great or unusual, and you can easily spot some credibility holes, but it is very atmospheric. The sole drawback is that it pads the narrative with repetitive shots of similar facial expressions, and it could have done with 10 minutes less, especially the part where you see Cooper go into Portman's place, and then only shoes and trousers for a good 8 minutes, and suddenly everyone is back at Cooper's and Kerr's.

Ultimately, despite its flaws THE NAKED EDGE rates a must-see film noir, a definite must-see for the fans of that wonderful actor, Gary Cooper.

During after hours in a nearly empty London office, a man is murdered and a sack of cash stolen. George Radcliffe, an American associate, is working late and witnesses the murderer's escape. Later, he is the key witness in a trial that sends the accused man to prison. But was he guilty? Where did the money go? Michael Anderson's 1961 thriller, "The Naked Edge," is a nicely done mystery that echoes Hitchcock's "Suspicion" in many respects. Hitchcock is also linked to the film through screenwriter Joseph Stefano, who earlier wrote "Psycho" and adapted the novel "First Train to Babylon" for this film. At age 60, Gary Cooper was at the end of his career and near the end of his life. Although looking tired as Radcliffe, Cooper manages, like Cary Grant in "Suspicion," to maintain his nice-guy image, while suggesting something darker and enigmatic. Lovely Deborah Kerr matches Joan Fontaine as the loving, but doubting wife. Kerr is at the center of the film as clues surface, her suspicions grow, and she seeks the truth behind both the murder and her husband's inexplicable behavior.

A stellar cast of stalwart British actors support the stars; led by Hermione Gingold and the priceless Wilfred Lawson, the list includes Michael Wilding, Peter Cushing, Eric Porter, and Diane Cilento. The black-and-white cinematography by Erwin Hillier captures appropriately gritty images of working class London and shadowy atmospherics that enhance the climactic suspense. Only William Alwyn's music tends to overwhelm early in the film, when the composer telescopes the action and loudly punctuates critical moments. While Anderson is not Hitchcock, and "The Naked Edge" is not "Suspicion," the director manages to maintain a brisk pace, build tension and suspense, and reach an exciting and satisfying climax.

Well done throughout, "The Naked Edge" will grip viewers and keep them absorbed to the end and beyond, when a voice-over warns the audience not to divulge the ending. Of interest for more than just a great American star's final role or for another opportunity to admire the always radiant Deborah Kerr, the film is a taut thriller that delivers. Although Hitchcock-like and Hitchcock-lite, "The Naked Edge" is worthwhile, even if dedicated crime buffs will likely outpace Kerr and guess the outcome.

In Gary Cooper's last performance you can see that he is almost washed up, acting like an old age Roark (from 'The Fountainhead') stiffer than ever with very little stamina left, although still acting in a most difficult part and that convincingly, as even his role is a character dangerously perpetually on edge, while Deborah Kerr makes up for his doubtful ambiguity in her superb rendering of a married lady who just can't make things add up, wavering between an increasing suspicion of her husband's possibly having committed an heinous murder while at the same time refusing to believe it could be true. Another asset is Peter Cushing's brilliant acting as the prosecutor. The film begins with the murder trial with Gary Cooper sweating from the beginning, he himself can't make things quite fit while he is perfectly convinced that he couldn't be wrong, while the triumph of the film is the very clever story. By the accumulating inconsistencies a suspense is mercilessly built up and increased all the way to the bitter end in a virtuoso thriller more like Hitchcock than any Hitchcock. The real turning point though is the marvellous scene with Diane Cilento as the victim's wife, whom Deborah Kerr visits with traumatic consequences, which really triggers her suspicion and conviction that nothing in this story fits. After the climax in the end with all battles fought to the bitter end, everything falls into place however with perfect logic. This is a marvel of a thriller, and not even Hitchcock could have made it more exasperating in its irrevocably constantly increasing unbearable suspense. This is Michael Anderson's best film, and you regret that he didn't make more films like this one.

This movie is a very superb and well made thriller. Im surprised it got such a low rating considering its entertainment value. From the beginning the movie starts us right away with the premise. From there we are taken through a very suspenseful ride in trying to figure out wether a woman is right in suspecting her husband for murder, accusing the wrong man for murder, or covering up for the murderer. As the movie develops, different clues keep popping up and were made to really think and engage. As the movie gets closer to it's climax, the suspense gets more intense. The acting is very convincing and I found myself truly sympathetic for Martha in her efforts to figure out the truth. . Add the great camera work and shadow effects, this movie is now on my list of favorite classic movies. Don't let the other users discourage you, they are simply trying to compare the movie to other films that are not meant to be compared to. Watch it for yourself and see how fun the ride truly is.

The last film of Gary Cooper is an enjoyable thriller-drama. It's not great cinema, but I was surprised by the pace of it. With most of those "old" films, I have trouble to sit them through. But this one kept my attention from beginning to end.

The story is about a man(Cooper) who's a witness to a murder and thanks to whose testimony the killer is locked away. But did this guy really commit the murder? Years later, Cooper's wife(Kerr) starts to suspect her husband. Slowly, everything begins to point in HIS direction. Is she still safe with the man she loves? Will he kill her(too)?

As I said, this film is very entertaining. The story however has some major holes in it and the ending is a bit of a let-down. You'll have to see what you make of this film with the ending in mind. This could have been done much better. Cooper is very good in his last role as the husband, but Kerr was less convincing as his wife. There are also some rather colourful, but sometimes annoying supporting roles. I can recommend it, as long as you don't expect to much of it. But if you don't like old films, this is a good movie to help you with that. The filming is very up-to-date. 6/10