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One of the things that all of the films about Norway during World War II fail to mention is why the Nazis were there in the first place. All of the Scandinavian countries would have gladly sat out this war as they did World War I. In fact all, but Sweden got into it for various reasons.

In the case of Norway, it's simply the long Norwegian coastline. Even before the Soviet Union was invaded, Hitler saw the necessity of preventing supplies from getting to the Soviets should they break the Hitler-Stalin pact and enter the war on the allied side. The convoy route used was the one into the Arctic Ocean into Archangel and Murmansk. No other route was possible for American lend lease. The Nazis operated bases from Norway and sank a lot of allied shipping in the North Atlantic.

So this is why this small village and so many others like it were occupied and why the country was invaded. The Norwegian people from the king and queen on down, knew their country was in a sideshow theater, yet they did resist as best they could.

In fact Mr. Churchill did mount a counterattack in Norway, but the invasion failed and British troops had to withdraw. From time to time he brought up freeing Norway during allied conferences, but could get no support for it from Roosevelt or Stalin.

Errol Flynn stars in Edge of Darkness and the usual Flynn derring-do is kept on hold. Probably in keeping with the stoical nature of Scandinavian character. He's not exactly Captain Blood in this one. He's a fisherman, but his natural qualities of leadership come through as he leads the resistance.

Edge of Darkness is the story of one coastal Norwegian village who put up with Nazi occupation beyond what was humanly bearable. The rape of Ann Sheridan finally touches off a revolt.

It's not a star vehicle per se. Errol Flynn and Ann Sheridan have a great deal less dialog than they would in most films. Edge of Darkness is a study of the various townspeople and the way each one of them deals with the Nazi occupation.

Walter Huston and Ruth Gordon are the parents of Sheridan and John Beal. Huston is the town doctor and tries to remain above the battle. Gordon, like Patricia Collinge in The Little Foxes, retreats into nostalgia. Sheridan is a resistance member and Beal was an informer in Oslo, but only the immediate family know it at first.

However the performance I like the best is Charles Dingle's. Dingle has always been one of my favorite character players ever. He's Gordon's brother, the owner of the cannery, and he quite deliberately chooses to collaborate with the Germans. He's the kind of villain you love to hate as is Helmut Dantine the commanding officer of the Nazi garrison.

We learn Dingle's fate at the beginning of the film and as the action unfolds in flashback the audience really rejoices in that fate.

No mistake about it, Edge of Darkness is a World War II propaganda film, but still entertaining today

Errol Flynn made some of the best and most exciting WW2 films. Here he's part of an ensemble in this story about a small Norwegian fishing village under Nazi occupation. Many of the villagers want to fight back against their occupiers but they have no weapons. Errol Flynn and Ann Sheridan are the two main leaders of this resistance group. Sheridan's father Walter Huston wishes to avoid fighting and wait the war out. Then you have her uncle and brother, who are Nazi collaborators. Eventually tensions within the village boil over and the citizens revolt against the evil Nazis.

The cast is excellent. In addition to the three big stars I list above, who all do commendable work, there's an outstanding supporting cast. Judith Anderson is a ballsy resistance fighter who is in love with one of the Nazis but doesn't let that sway her loyalty. Ruth Gordon gives one of her patented sensitive and soft-spoken performances. Charles Dingle and John Beal play the rat bastards who sell their own out to the enemy. One of them has a moment of redemption by the end. Morris Carnovsky is extraordinary as an elderly man who stands up to the Nazis despite the danger. Roman Bohnen is a scene stealer as a patriot who has to overcome his fear. Helmut Dantine plays the scar-faced Nazi in charge of the occupation. Many other fine actors in small parts, some of whom may only get one scene to make an impact but they make the most of it.

Powerful script, beautiful cinematography, and excellent direction. The climactic battle scene is intense. It's an unflinching war movie with little to no comic relief, a rarity for Warner Bros, who usually threw Alan Hale or somebody into these pictures to add some lighter moments. But this is a serious movie about bravery and the sacrifices that so many made in the war. The story doesn't call for lightheartedness. It's one of the best war movies Flynn or WB made.

I am old enough to have seen "Edge of Darkness" first run during WWII, and believe me this was a powerful movie for a 13 year old during the war. I've always remembered the effect of President Roosevelt's over voice message at the end of the film. For those who haven't seen this film the message was an excerpt from a speech he made probably in late 1940 or 41, and it refers to the resistance of the people of Norway to the occupation by the Nazis. I wouldn't doubt that it is possible that this speech was the inspiration for the novel from which the film is based. Yes, the way this over voice was used was a wartime "message" or propaganda if you will, but having seen and re-seen every war film made during WWII, I think this was about the best use of wartime messages.

A story incomparable of a people unconquerable about the underground movement in Norway , 1942 , based on the novel by William Woods . After two years under German rule , a small Norwegian fishing village rises up and revolts against the occupying Nazis . A fisherman (Errol Flynn) along with his loyal fiancée (Ann Sheridan) leads the local (Walter Huston , Ruth Gordon , Judith Anderson and several others) underground movement against a Nazi nasty captain (Helmut Dantine). The second part is quite starkly moving developing account of deeds that befall about the villagers and when they go into action.

A surprisingly very strong version about Norwegian resistance with career-best interpretations from Errol Flynn and Ann Sheridan . With a spectacular opening reminiscent of 'Beau Gest' , the film gets action , pretty downbeat deeds , intense drama with moments of extraordinary power and breathtaking final battle . Although numerous problems happened throughout shooting , this movie contains impressive images and submitted performances . Director tries to expose war for what it is and not glorify it . Very well camera work by cameraman Sidney Hickock . Thrilling and evocative musical score by the classic Franz Waxman . Rating : Above average , the flick earned big high marks for its superb scenarios , credible acting and dramatic scenes .

This War/drama is compellingly directed by Lewis Milestone , he was born in the Ukraine , but emigrated to America at 18 and he served in WWI becoming an assistant director on Army training films . Then War returned and Lewis was in thick of it with several fictional movies and a documentary . He often made chronicles of wartime conflicts and persisted in showing horror war from the point of view of the ordinary soldier . Milestone was using what he felt were the best means at his disposal to express his own philosophies about war in particular . Milestone's niche in movie history is secure with his War films and it is on these pictures that his reputation rests . As he showed WWI , winning Academy Award for ¨All quiet on the western front¨ , and WWII such as ¨Purple heart¨ , ¨Halls of Montezuma¨ , ¨Edge and darkness¨ , the best of which is ¨A walk in the sun¨ with remarkable intensity at times and Korean war as ¨Pork Chop Hill¨ ; and directed several others excellent movies in different fields , dramas as ¨Of mice and men¨ , Noir cinema as ¨Strange love of Martha Ivers¨, adventure as ¨Mutiny on the Bount¨ and heist-comedy as ¨Ocean's eleven¨, among others.

The picture is set during German invasion of Norway and subsequent Nazi conquest , the historical events are the following : The invasion began on April 9, 1940. The German Navy and Airforce led the operation . The Hitler plan relied on surprise to avoid interception by the British and to prevent Norwegian forces from mobilizing. The sudden appearance of naval task forces took Norwegian defenders by surprise and allowed airfields around Oslo , Tondheim and Stevenager to be captured by the German intact. German forces at Trondheim advanced and linked up with forces in Oslo. Norwegian forces in central and southern began to surrender. In northern Norway British and French troops fighting against Germans in Narvik . But the Allied decided to pull out of Norway , evacuating forces from Narvik . After that , Nazi conquest was completed with help some collaborators as the famous ¨Quisling¨ who was a Norwegian prime minister whose collaboration with the Nazis meant his name became a term meaning traitor and in this film is represented by the Walter Huston , Ruth Gordon's son , John Beal .

The term 'propaganda' has generally taken on a very negative connotation, though propaganda can be a very good thing--such as in the case of EDGE OF DARKNESS. Here is a film that did an excellent job of rallying the audience for the war effort against the Nazis. The emotional impact is great--mostly due to exceptional writing, production values and a nice ensemble cast. I'm sure when audiences left the theaters, they often were energized and it gave them a sense that "we're all in this together".

Errol Flynn is cast in the lead as a Norwegian patriot who is slowly and very covertly trying to plan for a rebellion against their Nazi overlords. Interestingly, while Flynn and the rest do not sport Norwegian accents, the film (and in particular, Flynn's performance) is generally understated. This helped make the film seem more realistic and heightened the emotional impact.

In addition to Flynn, the film also stars Ann Sheridan, Walter Huston and Ruth Gordon. However, unlike most Warner Brothers films of the day, the usual cast of supporting actors (Allen Jenkins, Frank McHugh, Alan Hale and the rest) are absent. This was a good decision, as the usual "comic relief" style of support is --replaced with a gritty yet believable group of actors.

What I also liked about the film was that while the Nazis were very brutal and evil, they were not quite so over-the-top as they were in many propaganda films of the day. Yes, they murdered and even raped, but the whole thing was handled more realistically than many films--the Germans were not parodied or ridiculous--making them all the more scary.

The film ends with a terrific final confrontation scene between the Norwegians and the Nazis. It was very deftly filmed and was super-exciting.

All in all, this is one terrific film--mostly due to realism and excellent performances all around--from direction to sets to writing to acting to cinematography. A real stand out among the crowded pack of American WWII films.

"Edge of Darkness" is set in a small Norwegian village during the time of the Nazi occupation of Norway. The film examines the lives of the villagers and their resistance to the Nazis.

Errol Flynn plays Gunnar Brogge, the accepted leader of the villagers. Gunnar isn't as overt as Flynn's Robin Hood or Captain Blood, but this is not surprising considering that he act secretly due to a ubiquitous Nazi presence in the village. Flynn is however, still effective in another of his heroic roles. Two other important villagers are well-played by veterans Ann Sheridan and Walter Huston. Helmut Dantine is notable as the zealous Nazi commander and as is Charles Dingle as an opportunistic village business leader that labels himself as a "man of facts" and collaborates with the Nazis.

While there are some interesting themes, characterizations and scenes like the church scene in the film's first half, the first half as a whole is somewhat plodding. The film's second half is stronger as the Nazis tighten their grip on the village and the villagers mount their opposition. There is a touching sequence in this part of the film where Morris Carnovsky, as an older villager, confronts the Nazi commander on principle and is treated maliciously. In all parts of the film the blaring and marshal score helps to develop the tension the Nazis create. The film's expected final conflict was well-shot and an exciting way to end the film. "Edge of Darkness" is a decent war-time film about opposition to Nazi repression.

From the mystery of the first scene, you know that this is not just another war movie. This dealt honestly and on a raw level with the gut-wrenching issues that emerge when a country is occupied by a people not very much unlike themselves. Both sides try to reconcile the apparent incongruities to peacefully co-exist and yet allow the Norwegians to keep their basic human dignity, but alas the positions are inevitably irreconcilable. Because the emotions it portrays are so genuine and honest, this is one of the best propaganda films made by the allies while the war was still ongoing. Nancy Colman and Judith Anderson are standouts in a uniformly excellent cast. I consider this the perfect war film.

"The Edge of Darkness" is a 1943 propaganda film about a Norwegian fishing village rising up to fight the Nazis.

However, this movie is a cut above other propaganda movies. The cast is excellent, top-notch all the way: Errol Flynn, Ann Sheridan, Walter Huston, Ruth Gordon, John Beal, Helmut Dantine, Judith Anderson and Morris Carnovsky.

Sometimes on the IMDb message board, a poster will ask for opinions on the best ensemble cast ever assembled. This one deserves a mention.

It's probably not at the top of everyone's list because it was released while Errol Flynn was fighting statutory rape charges, which was a distraction to audiences, certainly, and also because it followed "Casablanca."

Norway was dragged into the World War II conflict because Hitler was very concerned about protecting the Norwegian shoreline so that the Russians could not receive supplies if they joined the Allies.

In the story, the village is being occupied by the Nazis, who are taking the people's shipments of basic necessities and oppressing the entire town by their very presence - curfews, patrols, and the commandeering of the local hotel as their base.

Flynn plays the head of the resistance, a brave fisherman named Gunnar Brogge. He is joined in the fight byand by other villagers and by the woman he loves, Karen Stensgard (Sheridan). Her father (Huston) is a doctor who, like many others, has been content not to make waves; his wife (Gordon) longs for the days before the war when the family was together.

Karen, however, has no such wish - her brother, Johann (John Beal) is a weakling who collaborated with the Nazis in Oslo. Hearing that he's returning home, she warns the resistance group that he could cause problems. Meanwhile, the group waits to receive a shipment of arms so that they can fight effectively.

The director, Lewis Milestone, has created an atmosphere where one feels the oppression, fear and frustration of these simple people. There are powerful scenes that demonstrate the viciousness of the Nazis, led by Helmut Dantine.

One scene is off-camera - the rape of Karen. As another poster here commented, she of course looks fabulous when she returns to the group - some dirt smudges and her beautiful hair falling around her face. That is really the one false note in this story of great bravery.

The entire cast is terrific, led by Flynn, who demonstrates quiet strength and determination as Gunnar. This is really an ensemble piece, however, and Flynn and Sheridan do not overwhelm the production.

Walter Huston again demonstrates his brilliant acting skills as a man trying to stick it out without having a high profile, and Gordon is sympathetic as his wife, who yearns for the family moments that are now gone. All of the roles, including the smaller ones, are essayed beautifully.

I am sure that this film was very inspirational when first seen, particularly the radio message from Roosevelt at the end of the movie. "Edge of Darkness" is a compelling story about the effect of the war and occupation on the average person.

Directed by Lewis Milestone and starring Errol Flynn, Walter Huston, Ann Sheridan & Ruth Gordon. It's based on a script by Robert Rossen which is adapted from a novel by William Woods. The story revolves around Trollness, a fishing village in Norway suffering under years of oppressive Nazi occupation. With the locals divided on what to do about it, with some having vested interests that are not totally worthy, a guerrilla resistance effort finally sparks into life.

Very competent film making across the board, but the film at nearly two hours long is often a chore to get thru. It's refreshing, tho, to see a film about the Norwegian resistance, a great chapter in the war that we sadly don't see much of in cinema. While one of the best things about the film is in how it portrays that not all the Norwegians wanted the Nazis out. Some were happy to let them occupy, others were just too frightened to do something about it. Here in Milestone's movie a catalyst spurs the village into action and it's then that the movie gains impetus. This does come at a cost as such, tho, since the heroics in the rousing finale are over contrived. Nicely shot on California coastal locations to gain some "Norwegian" authenticity (Sidney Hickox on photography).

Worthy, watchable but not one to sample too often. 6/10

Edge Of Darkness is one of the most underrated movies by one of the most underrated directors, Lewis Milestone. This World War Two "propaganda" piece or morale builder rises far above its genre in the hands of the cinematic master best known for his magisterial World War One picture All Quiet On The Western Front. The story of a revolt brewing against Nazi occupiers by the people of a Norwegian fishing village, scripted by Robert Rossen, is reeled out in Milestone's fluid, sensuous cinematic style with spellbinding suspense from beginning to end. Sets are first rate, with the magic of Old Hollywood art transforming the California coast into a misty Scandinavian fjord.

Leading man Errol Flynn turns in perhaps his best job of acting. His dashing image is completely lost in the role of a humble fisherman not entirely confident as the leader of the local Resistance movement. No dashing uniform here, just a pea coat and a plain merchant sailor's cap. And no mustache! Flynn and leading lady Ann Sheridan both turn in the solid, understated performances their roles called for, but it is a superb cast of supporting players that really shines in this one. One of the great charms of this memorable movie is the rich character development amongst the supporting parts. Walter Huston, as the town doctor trying to sit the fence, and Judith Anderson, as a Resistance worker hopelessly in love with a German soldier, are dominating as always. But the show is practically stolen by Roman Bohnen, as a henpecked, middle-aged store keeper with dreams of glory, and the ubiquitous Henry Brandon, as a suave SS officer who may not be all he seems. Helmut Dantine, a refugee Austrian anti-Nazi in real life, plays the German commandant with razor-edge ruthlessness. Likewise outstanding are Ruth Gordon as the doctor's sadly unbalanced wife, Charles Dingle as her Quissling brother, John Beal as her wavering Quissling son, and Nancy Coleman as the commandant's frightened Polish mistress. Monte Blue, Frank Wilcox, Art Bridge, and Morris Carnovsky add their always reliable presences. Thanks to consummate acting skill, Rossen's intelligent script, and Milestone's precise direction, you will come to know these characters as well as your neighbors by the shattering end of this two hour movie.

Franz Waxman's florid score themed on Martin Luther's stirring hymn "A Mighty Fortress Is My God" with snatches from Wagner sweeps the action along to a rousing climax.Sid Hickox is credited for the sublime cinematography, but as I have stated elsewhere (see my review of The General Died At Dawn), Milestone's graphic statement was the same no matter who was behind the camera or in the editing room. Sweeping camera, silky smooth scene changes with creative dissolves, panning mise-en-scene were all the master's trademarks -- much imitated and highly influential on the film noir style that came to dominate pictures of all genres during the 1940's. Notice how at the beginning of the final scene in Edge of Darkness the flapping flag dissolves into a sheet of paper in a typewriter!

Edge of Darkness is a classic of the war/intrigue genre and one of the great movies of all time. First rate Old Hollywood entertainment from the master Lewis Milestone.

ERROL FLYNN and ANN SHERIDAN are the nominal stars of EDGE OF DARKNESS, but it's a strong character-driven tale that gives interesting supporting roles to a Warner cast of contract players and loan-outs and does not depend solely on Flynn or Sheridan for its impact. It's a WWII tale of Norwegian resistance and it's given Grade A treatment from the studio with some eye-popping camera work under the inspired direction of Lewis Milestone.

WALTER HUSTON is a doctor, at first reluctant to show fierce opposition to the cause; RUTH GORDON is his worried wife; JUDITH ANDERSON is a strong-willed resistance fighter who is also resisting the advances of a Nazi officer; HELMUT DANTINE is once again cast as a hateful Nazi who knows when he's outnumbered; NANCY COLEMAN is his neurotic sweetheart who wants to break away from the Nazi environment and return to Poland; CHARLES DINGLE is the wealthy man who owns the cannery and goes insane when he witnesses the slaughter his village falls prey to.

The drawback is the obvious propaganda tone and overly melodramatic scenes of brutality strongly contrasted by the heroics of the townspeople, including the village pastor. Topping all of these scenes is the final voice-over by no less than F.D.R. praising the Norwegians for their stance against occupied Norway while "A Mighty Fortress" builds up on the soundtrack. Franz Waxman's background score is frequently as melodramatic as the on screen action.

But still, the last forty minutes of the film are comprised of some of the most powerful scenes and gives the whole story the kind of stature it deserves for the final climactic battle scenes.

Summing up: Worthwhile film is gripping at times but weakened by occasional lapses of melodramatic excess, in typical '40s style.

During WW2, a Norwegian fishing village is no longer flying the Nazi flag. After entering the village to find out why, the Nazi invaders are shocked to find carnage – dead bodies everywhere. The film then goes into flashback to describe the events that have led to this moment.

There are pockets of resistance in the village that Nazi Captain Helmut Dantine (Koenig) has to contend with – small scale stuff but a continuous presence and fisherman Errol Flynn (Gunnar) and doctor's daughter Ann Sheridan (Karen) are usual suspects. Flynn, Sheridan and Dantine lead the cast admirably in their roles but not everyone fares so well, especially with the clichéd dialogue they are given. Cases in point are Polish floozy Nancy Coleman (Katja), the awfully saccharine Ruth Gordon who plays Sheridan's mother and the idiot headmaster Morris Carnovsky. They somewhat ruin the film in that we just don't care what happens to them. This is bad news given that they are given key sequences to act out. All meaning to their scenes gets diffused with other sentiments, mainly – what awful acting and stupid behaviour. Even doctor Walter Huston as Dunne's father left me indifferent and I've liked him in other films.

I've been to Trondheim in Norway and it is pretty impressive and eerie with all the destroyers parked in the port. You can't help but feel a military presence, so I feel the urgency for these villagers to take their village back. Unfortunately, this film drags. It's OK to watch but could and should have been much better. There is about one memorable scene – check out what village vicar Richard Fraser does when he decides which way his bread is buttered.

Sidney Hickox's cinematography is a fine example of the best of black and white productions of the 30s and 40s. Hickox employs depth of focus, zoom, tracking, black and white noir-style contrasts, minatures, mattes and montages with equal finesse.

Added to this are carefully executed camera angles, which perfectly capture the appropriate moods which Director Lewis Milestone wishes to achieve. It is a film which can give pleasure even with the sound turned off.

Milestone is completely successful in coaching his cast to work in ensemble fashion, which parallels the comraderie of the Norwegian people trying to off-stand the oppressive Nazi troupes which hold the village in captivity.

Milestone's productional team, from the editing and art direction to the set decoration and scoring, are uniformly fine. But I still didn't like it.

Mr. Milestone, in his quest for anti-war themes, to my mind, got carried away with these unpleasant subjects to the point of their becoming an obscession. Throughout his career the returned to these themes, creating technically memorable, but consciously skewed works.

Like all such genre films, Milestone fell into the traditional pitfall: exploiting effect, without delving into cause. True, effects are the stuff of drama, which in turn becomes a commentary on the ultimate limitations of the craft -- or of writers, who either are unwilling or unable to express a rounded portrait of total truth and balanced essences.

"Edge of Darkness" remains a studio propaganda film, intended to mobilize its audience into patriotic thinking and actions. It's all about we-good-they-bad -- without any hint the enactment depicting merely different sides of the same coin.

A squad of Nazi soldiers arrives in the devastated small Norwegian fishing town of Trollness. The Norwegian flag is still flying. There are dead everywhere and many are Germans. The story flashbacks to the occupied town before the fighting.

This is a wartime anti-Nazi propaganda flick starring Errol Flynn and Ann Sheridan. It's a simple rebellion thriller story and a sincere support for the war effort. Flynn is being a little too heroic especially in front of the Nazis. It may be something that he cannot change. There is a good amount of melodrama. That is to be expected. In fact, that may be the preferred sensibility. All in all, this is a good watch and fits its time very well.

This terrific movie is remarkable for many things. It holds you in a vice-like grip from its unforgettable beginning. Nazi troops see the old flag of Norway flying and go to investigate but find hardly anyone still alive. Helmut Dantine is remarkable as one of the most humane and believable Nazi captains ever portrayed on film. The Germans have some respect for the Norwegians, some but perhaps not enough. Attempts to interact and work together are sabotaged by irreconcilable differences. The camera work and score are both magnificent. One interesting thing here as the movie's nominal star, Errol Flynn (playing a Norwegian named Gunnar (!) ), takes a back seat to riveting and magnificent performances by the supporting cast. Special standouts, besides Dantine, include Judith Anderson, Walter Huston, Nancy Coleman, Ann Sheridan, and John Beal. Watch it and you will never forget it.

The Edge of Darkness (1943)

A solid WWII movie about the resistance in Norway. There is the immediate plot, about an ally who was occupied by the Nazi Germans, and there is the wider allegory about ordinary people (the Americans watching the movie) rising up against true tyranny. Errol Flynn is of course famous for his swordsmanship in his earlier films, but he plays a thoroughly good man well, tortured by the facts but always out to do what is best. There are other actors that matter-Walter Huston as a prominent doctor in town, and Ann Sheridan as the principled, stoic woman. It's mostly a routine production, with obvious anti-Nazi sentiments that override much of the plot. And it starts a bit slowly, with a set up that mattered more when the movie was made and see in the theaters and the Germans were crushing Europe. Including Norway, which famously did not go neutral like Sweden did, and paid a high price. The people portrayed here are the ordinary folk who seem powerless next to a well armed occupying army, but who found a way to fight back, at least in their own microcosym. You can't get away from the predictable stances of everyone here-including the necessary traitor or two. There is little suspense, but there is a lot of tension, which is different-these are in the many scenes toward the end of military confrontations. It's here that director Milestone seems to still be making his famous "All Quiet on the Western Front" which is a great movie with a great script. This is not great, but it's not just because the script and novel are ordinary. There is a style of acting and filming here that is a bit false. Watch people get shot and throw their arms in the air in a way that is reall more like a creaky silent film. It's mostly solid, to be sure, and a supportive part of the war effort. Keep that context to get the most out of it. And feel for the real people who had to fight and live through the Nazi brutality.

I keep a list of 100 all time favorite movies. This movie is in the top fifty. It has superb actors: Walter Houston, Ruth Gordon, Errol Flynn, etc. The Director did an excellent job. The movie shows that humans, when beaten down too harshly, will rise up, if given the opportunity, to destroy the oppressor and restore freedom of choice. In this case, the German Nazis brutally oppress the Norwigans of a small fishing village. The full range of human emotions is displayed. This is drama at its best. It would help galvanize a world against the oppressor. After WWII the film is still applicable to world events somewhere. It is a great history movie!

This wartime action thriller from Warner Brothers and director Lewis Milestone depicts an uprising by the citizenry of a small Norwegian fishing village against the occupying Nazi forces. Gunnar (Errol Flynn) and Karen (Ann Sheridan) help to organize the simple folk of the area against the brutal Nazi soldiers led by Captain Koenig (Helmut Dantine).

There was a popular sub-genre of war picture during the war years that centered on common European folk rising up against Nazi occupiers. This is one of the best that I've seen, although the propaganda nature of the storytelling keeps it from being truly great. Another minor weakness lies in Flynn's character, a rather bland cipher with little to distinguish him. Flynn apparently felt the same himself and tried to get out of the movie, but in the end it turned out to be a quality picture on his resume. Sheridan is good, if a bit too made up for a Norwegian villager in her situation. I also liked Nancy Coleman as a Polish gal at the end of her rope, and Judith Anderson as a rather severe woman whose secretly in love with one of the occupying soldiers. The movie's explosive climax seems light years away from director Milestone's work 13 years previously on what is arguably the greatest anti-war film, All Quiet On the Western Front.

Edge of Darkness is a rare movie that makes you think about it weeks after you've seen it. It is also rare in that 7 or eight of the supporting performances hit much more deeply than the nominal star's. Errol Flynn is the star, playing a character named Gunnar no less, but in many ways, he is almost peripheral to the real life drama and depth of emotions brought to life by the supporting cast. Ann Sheridan, Nancy Colman, and Dame Judith Anderson all bring vividly to life the choices women are forced to make during an occupation, and Walter Huston, Helmut Dantine, John Beal, and Morris Carnovsky are equally memorable in their roles. A must see.

This is one of those heart-stirring war movies about ordinary citizens brutalized by arrogant, violent invaders. Rising up against their oppressors, knowing that it will mean death for many, the common folk achieve moral victory in the end. Who can belittle a theme like that? There are moments where the courage and determination of the common heroes can evoke a tear or give you a lump in your throat, and the sense of triumph at the end is uplifting. Having acknowledged all that, it has to be pointed out for the sake of newcomers to the film that the film is also unabashed melodrama, in which everything is black and white with no greys, where everything is just a little too much--too much nobility and self-sacrifice on one side, too much cruelty and inhumanity on the other, too many fine speeches, too many tear-jerking moments, too many scenes with the sole purpose of playing on the viewer's heartstrings. If you're prepared for the melodrama and not expecting anything too close to the complex reality of actual people and actual situations, you can enjoy this movie.