The Naked Edge

This is a gripping and underrated thriller. It draws you in and holds you tight until the end.

I thought Cooper and Kerr were well matched and that Kerr played exactly the woman the character would have to be, i.e sheltered, very frightened, way out of her depth and near suicidal.

I thought the scene where she's watching a concert on TV was particularly telling, I felt that she's waiting there, expecting Cooper to come and kill her, indeed, surrendering to this fate as the only way out. That's why she has the TV so loud, so she can't hear him approaching and to drown out her own thoughts.

The scene where she's desperately trying to get out of the flat blocks complex was good too; certain that her husband's the murderer she can see the outside world but can't become part of it.

The tension was taut and maintained throughout. Sometimes with these old black and whites I check to see how long's left as they can drag a bit. Not this one, it was totally absorbing.

Being a British film, the censors were a bit less strict than those in the U.S. You actually see a little blood and there's some sexual talk that I don't think you'd hear in an American film of this era.

As with any old film, there's some quaint reminders of how things were back in the day. The remote control Kerr has (as she flicks between the 2 channels! Yes, the UK only had 2 in 1961) had a long wire to the TV on it and there's an ashtray in every room - even the library!

The music is way over the top but that's my only gripe with this superb little gem. See it - it's free on You tube.

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.

This movie might have been called The Cutting Edge for all the boundaries of 1961 it pushed! It utilizes innovative camera and editing techniques that echo Alfred Hitchcock's scary scenes from Psycho, alludes to sex in a way few films had been able to do since the fall of the Hays Code, and put the word "naked" in the title!

Even the first shot of the film is unusual, making you wonder, "Why did they show that? What am I missing?" for the first of many times as the mystery continues throughout the film. A bead of sweat is shown running down Gary Cooper's face. He's in court, ready to testify as a key witness to a murder. His accounting condemns a man to life imprisonment, and the guilt rattles him after the trial. Years later, he's a successful businessman, and he and his wife Deborah Kerr are living a life of luxury. He receives a threatening letter, making Deborah doubt his testimony all those years ago. . .

The Naked Edge is one scary movie! I'm not his biggest fan, but Gary Cooper gives a more energetic performance than he usually does. Although Deborah's character isn't written to be the smartest tool in the shed, she does a good job exuding her fear and doubt without turning it into a melodrama. Usually, Gary plays likable, earnest roles. This is the only movie I've seen where Gary Cooper plays a bad guy! This one's pretty scary and very suspenseful, so rent it on Halloween and cuddle up to your honey—or don't. . .

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, there's one part of the movie that might that will make you sick. There's a scene where Deborah Kerr gets lost and when she runs up and down the streets, the camera is hand-held. In other words, "Don't Look, Mom!"

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.

...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.