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.

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

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.

...featuring Deborah Kerr as the wife of American businessman Gary Cooper, both living in London. Cooper's boss was murdered and a large amount of cash stolen, but Cooper supposedly caught the culprit before he could escape. He testifies in court, and the man (Ray McAnally) is convicted. Cooper soon uses a stock windfall to go into lucrative business with Michael Wilding, and they all prosper. Several years later, Kerr discovers a blackmail letter threatening to accuse Cooper of the murder from years ago, and while he denies guilt, Kerr isn't certain, and she's always wondered where he really got that money for his business deal, as the stolen loot was never recovered.

This is mainly remembered for being Cooper's final film. He was seriously ill while filming, and he looks uncomfortable through most of it, which actually fits with the role. Kerr is the main character, though, and she does well as the increasingly worried and paranoid wife. The supporting cast is excellent, but Michael Anderson's direction lacks pace or verve. This was a flop when released, but it's not that bad, and many stars had much, much worse final films.

May I respectfully disagree with many of the posters here, who, knowing that Cooper had cancer while he made this film, claim that his under-played performance proves that he lacked the necessary vigor to do the character of the beleaguered husband justice. Quite the opposite! Cooper, who was famous for under-acting, most perfectly portrays a long-loving long-suffering husband who understands why his wife suspects him, but has decided (until the end) not to tell his wife the truth. If you watch his performance carefully scene-by-scene, you will see how skilfully he manipulates the audience: Cooper makes us believe he might be guilty or ... if you wish, might not. A tour-de-force of keep-them-guessing acting in the classic Hitchcock manner. Is he evil out isn't he? Much credit must be given here to the masterful direction of Michael Anderson, another neglected English director of exceptional talent with camera and actors who ended up doing too much minor work in Hollywood, as well as the superb contribution of Berlin-born cinematographer Erwin Hiller, a protege of FW Murnau and Fritz Lang.The B&W photography is astonishing. A plot full of improbabilities, yes, and the music keep spelling out what we can see, but all in all, an excellent job of suspense in the glossy English manner.