Nel fango della periferia

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.

Back in 1957, I was 21 at the time, and working in a similar enviorment, with trucks in front for loading and unloading, and freight cars in rear also. All that seemed right on. Yes, some guys/bosses can be nasty. Plus I also had a good buddy who was a driver/laborer. He also was black. I'm white. One of the best friends I ever had. We got along the same way as Poitier/Cassavetes.

1957's Edge of the City, directed by Martin Ritt, stars John Cassavetes, Sidney Poitier, Jack Warden and Ruby Dee.

It's the story of a troubled man, Axel, who has a mysterious past that gradually comes out during the film. He has a connection that gets him a job on a loading dock working for Charlie (Jack Warden), a real meanie who takes kickbacks from his workers and rides them hard.

Charlie has an intense dislike for a black man, T. T. (Poitier) who holds the same position. T. T. Invites Axel to work on his team; Axel defies Charlie and does so. Axel finds a place to live and socializes with T. T., his wife (Dee) and their son's white schoolteacher (Kathleen McGuire).

When tragedy strikes, none of the men on the loading dock will talk to the police, and Axel has to come to grips with his values, what he stands for, and the meaning of friendship.

This is a really excellent black and white film that curiously isn't really about being black or white! It's really about the limits one puts on oneself and knowing who you are.

Charlie is a bigot and hates that a black man has a good position on the dock. T. T. Teases Charlie and gives as good as he gets. There's no discussion of T. T. and Axel spending time together or of T. T.'s son having a white teacher with whom the family also socializes.

What Axel, a loner, finds difficult is accepting any friendship or confiding in anyone - these things he learns through T. T.

Poitier absolutely shines in "Edge of the City" - he's warm, energetic, loving and smart, a man with a real enthusiasm for life, afraid of nothing. Cassavetes is excellent and plays a character totally opposite - hiding in the shadows, chronically depressed and always nervous.

The film leaves open what happens to Axel. Whatever he does, he's a different man now.

Strangely underrated and unknown film, possibly in the shadow of a lot of the angry young men films that came out in that era.

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.

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.