Edge of Doom

When Edge of Doom was first released, audiences turned away from it with the coldest of shoulders. It was yanked out of circulation so that a pair of bookends could be shot, in which the story becomes a kind of parable told by a wise old rector (Dana Andrews) to a younger priest undergoing a pastoral crisis. The filmmakers shouldn't have bothered: Edge of Doom remains one of the bleakest, least comforting offerings of the entire noir cycle (no mean feat), and probably the most irreligious movie ever made in America.

When Farley Granger's devout but tubercular mother dies, it precipitates a rampage against everything that makes up the prison of his life: his ugly urban poverty; his penny-pinching employer who offers promises rather than a raise; the Church, which once refused burial to his father, a suicide, and is now refusing his mother the "big" funeral he thinks he owes her; the smarmy, sanctimonious undertaker. Long story short, he ends up murdering a crusty, hell-and-brimstone priest. The police nab him for a robbery he didn't commit but end up with a different murder suspect. But compassionate pastor Dana Andrews (now in flashback) suspects the truth.... There's something almost endearingly Old Left about the savagery of the indictment leveled against society's Big Guns: Church, police and capitalism. The slum where Granger lived with his mother makes Ralph and Alice Kramden's Chauncey Street digs in Brooklyn look cozily inviting (Adele Jergens, as the slatternly wife of a neighbor, observes, "Smart people don't live here"); outside, the nighttown is noir at its most exhilaratingly creepy. It's easy to see why the public, on the cusp of the fabulous fifties, shunned this movie, whose unprettiness is uncompromised. But it's as succinct a summing up of the noir vision as anything in the canon.

Farley Granger is a young man on the "Edge of Doom," in this 1950 film also starring Dana Andrews, Mala Powers and Paul Stewart.

When a young priest wants to change parishes, Father Roth (Dana Andrews) tells the story of Martin Lynn (Granger), saying that what happened with Martin showed him that, as a priest, he was in the right place.

Martin Lynn is a young man who is having trouble making ends meet as a delivery man for a florist; he has a chronically ill mother, and he wants to be able to move her to Arizona. However, after working with the florist for four years, he still can't get a raise.

When his mother dies, he wants a high-priced funeral for her. He goes to the church rectory, as his mother was deeply religious and, despite living in near poverty, always gave what she could to the parish church.

In an ensuing argument with an old, tired and tough priest (Harold Vermilyea), Martin hits him over the head, and the priest dies. Later, he's picked up, not for the murder, but for the robbery of a movie theater actually done by his neighbor (Paul Stewart). Though released, the detective in charge (Robert Keith) is still suspicious of him.

"Edge of Doom" is a grim noir that never lets up; Martin Lynn can't get a break, not from his boss, the funeral director or the church. His girlfriend (Mala Powers) at first feels there is no place for her in his life because of his mother. After the mother dies and Paul commits murder, he breaks up with her.

His only support is Father Roth, whom he doesn't like - he resents the church for not burying his father on hallowed ground when he committed suicide and for taking his mother's money. It's not often in a film that one sees a priest killed - and with a cross yet.

The acting is good if not great. Farley Granger is sympathetic as Martin. He was often cast in this type of role. Dana Andrews does an okay job as the priest, but is a little too precious. The way to play a priest is the way Spencer Tracy did - as a man first. Andrews tries to put on a priestly air but it seems forced.

Apparently this film was not well received upon release and was withdrawn to add the very beginning, where Andrews begins to tell the story, and the very end, which comes back to the present time with Andrews and the priest.

It doesn't really help the film's relentless, depressing tone. Don't watch this one if you need a smile or a feel-good movie.

The great Dana Andrews gets first billing but his is a supporting role. This is Farley Granger's movie and he shows what a real actor is. It is very dour. Very sad. Sort of like Street Scene in the 1950s. There is not even a moment of cheerfulness. Yet it is very gripping and well written. I particular love the actors in the small roles. Even Ellen Corby and Ray Teal sneak in for great cameos. The movie is framed around a very unconvincing idea. Take those scenes out and this is a ten.

Sometimes dismissed by the critics (read Matlin's review ) as "histrionic Granger" , "edge of doom" should be considered as it was intended for : an edifying movie, a Christian profession of faith.

On the contrary ,Granger gives a gripping performance of an overwrought man who got a raw deal :nowadays, a person who commits suicide passes for "crazy" and is not denied a funeral in consecrated ground, but at the time, the Catholic Church was adamant ;Martin has a grudge against the priests who took his mom's hand-outs in the masses ,and never gave her anything ;since he lost his faith ;thus a contradiction for he wants a beautiful funeral for his departed mother ,with plenty of flowers ,even though he's got to work off the price all his life.But it's more a vengeance on the Church than an act of redemption.

Mark Robson has a flair for scenes with a sense of mystery ,probably stemming from his first Val lewton productions ("the seventh victim" " the ghost ship" " bedlam" ) : it shows in the murder scene , and even more in the funeral parlor where Martin sees his victim in his coffin ; the reconstruction of the crime is a great moment too ; Granger's face gives away his guilt ,his stress ;all along the movie,he plays as though he's about to break down:a lesson he may have learned from the masters Ray ("they drive by night" ) and even more Hitchcock ("the rope" in which his self-conscious nervous attitude contrasts with John Dall's aplomb).Note the omnipresence of the crucifixes.

It's a long flashback :a story told by a priest (Dana Andrews) to one of his younger colleagues who thinks that the load is too heavy.

"there will be more rejoicing in heaven over one sinner who repents than over ninety-nine righteous persons who do not need to repent." (St Luke)

The first 40 minutes or so of Edge of Doom are quite interesting, as Farley Granger offers a character that we sympathize with and understand. Another standout is the always excellent Paul Stewart, who portrays a no-good neighbor of Granger's. But the movie becomes predictable and rather tiresome about halfway through, and the viewer is forced to endure trite dialogue and a tired climax before it's all over. Although there are several good scenes, and strong noir overtones, the overpowering religious message is a bit much, being pounded over the viewer's head like a mallet. It's not a complete waste of time, but it comes pretty close.