Edge of the City

Martin Ritt's first film offers an exceptional existentialist answer (three years later) to Elia Kazan's more conservative "On The Waterfront." While "Waterfront" benefited immensely from an electrifying Marlon Brando, who inadvertently disguised Kazan's offensive theme of trying to justify naming names (as Kazan did eagerly before the House Un-American Activities Committee), "Edge of the City" boasts a young John Cassavetes and an upstart Sidney Poitier daring to confront issues that "Waterfront" failed to acknowledge, namely, workers' rights and race relations.

"Edge of the City" boldly dives into this (then) unknown territory, and although the quite appealing black protagonist (Poitier) may seem a bit Hollywood simplistic, the courageous struggle against thinly-veiled bigotry and violence has hardly aged at all. One wonders how shocked initial 1957 moviegoers were at such a bold presentation of white-black relations (if some of the bigoted didn't leave the theater early, they must of left dumbfounded, if not offended).

The last reel of the film will still surprise audiences, as it refuses to sink into expected clichés, including those that tainted "Waterfront." While both films climax with a fight in front of stunned workers, director Ritt avoids the tiddy simplicity of Kazan's ratonalizied ending. Only the most jaded viewers will not realize "Edge" remains such a radical and entertaining film.

What's most disturbing about this lost classic: how it sadly stayed unavailable on any format, for reasons that remain quite cloudy until it surfaced in a Sidney Poitier compilation in late 2008. This film should be required viewing in high school or college history classes across the country, yet one can only find it on obscure late-night TV, if ever at all.

In this rarely seen black-and-white film, blacklisted director Martin Ritt (Nuts, Norma Rae) explores the complexities of racial brotherhood and tensions through the characters brilliantly played by Sidney Poitier and John Cassavetes. This emotionally charged drama follows the story of Axel (Cassavetes), a drifter newly arrived in New York City, who goes to work in the West Side Terminal as a porter and immediately makes the acquaintance of Tommy (Poitier), an experienced and cordial porter who is as generous with his friends as he is with his customers. Scenes such as the first meeting between Axel and Tommy's family, as well as the confrontations between Axel and his surly boss (Jack Warden), convey the confidence and compassion that steadily grows between the two men. As the two men confront societal prejudices, Axel is forced to examine himself and his community. In a film often compared to On the Waterfront, director Ritt displays an intuitive insight, simultaneously subtle and sharp.

Although this small film kind of got lost in the wake of On The Waterfront, Edge Of The City can certainly hold its own with that star studded classic. It's another story about the docks and the code of silence that rules it.

Next to the corrupt union that Lee J. Cobb ran in On The Waterfront, Jack Warden is really small time corruption. But he's real enough as the gang boss on one of the docks who intimidates the other workers by being handy with his fists and the bailing hook and he gets the rest to kickback part of their hard earned money. And it's all hard earned money in that job.

One guy Warden can't intimidate is Sidney Poitier another gang boss and when he tries to intimidate newcomer John Cassavetes, Poitier takes him under his wing. The two develop quite the friendship and Poitier and his wife Ruby Dee even fix Cassavetes up with Kathleen Maguire.

Warden is truly one loathsome creature and it's sad how by sheer force of personality and physical prowess he cows almost everyone else into submission. In that sense he's tougher than Lee J. Cobb who did have to rely on an impression collection of goons to enforce his will in On The Waterfront.

Edge Of The City marked the big screen directorial debut of Martin Ritt who did a great job with a good cast of New York based players and spot on location cinematography. The film's low budget does show, but you're so impressed with the ensemble cast you don't really care.

Cassavetes as the loner with a past and the hip and tough Poitier are both fine, but my personal favorite in this film is Ruby Dee. She should have gotten some award for her performance, her final scene with Cassavetes is outstanding.

Catch this one if ever possible. I wish it were out on DVD or VHS.

I really liked this film--mostly because the acting and dialog was so good. So, while much of the film is very quiet and the plot somewhat normal by movie standards, it's a wonderful example of a film that is a showcase for the actors.

John Cassavetes plays a disaffected young man. He's failed many times in the past and expects to keep failing when he comes looking for a job as a longshoreman. At first, he's taken under the wings of a cruel jerk (Jack Warden)--who exploits him and is a bully. But, a particularly kind man at the job (Sidney Poitier) takes him on in his work crew--and the two become fast friends. But there still is the bully to deal with--as well as Cassavetes' dark secret. See this film.

I really liked the relationship between Poitier and Cassavetes because it was NOT played as an interracial relationship but just as two friends. There was no obvious or overt message about racial brotherhood--but simply by the casting it made a great point. Well done all around, though I was a bit disappointed by the exciting ending, as, if you think about it, it doesn't make a lot of sense (Cassavetes could have just gone to the police--and that would have been a lot more logical). Still, it's got a heck of a punch.

John Cassavetes is on the run from the law. He is at the bottom of the heap. He sees Negro Sidney Poitier as his equal and they quickly become friends, forming a sort of alliance against a bully of a foreman played by Jack Warden.

As someone who has worked in a warehouse myself when I was younger, I can tell you that the warehouse fights, complete with tumbling packing cases and flailing grappling hooks are as realistic as it gets. I've been in fights like these myself, although no one got killed.

The introduction of Sidney Poitier's widow is a variation on Shakespeare's Shylock "Do I not bleed?" This is an anti racist film, which, at the time, was much needed.

All the three principle characters - Warden, Cassavetes and Poitier - are superb, with Warden the most outstanding of the three.