O Fio da Navalha

The remarks of the detractor in this array of reviews is confusing and confused. Look. I read Maugham's book in the late 40s and saw the Tyrone Power, Gene Tierney, Clifton Webb film. So what? This film was neither one but that's beauty of art, dudes. It doesn't have to. The Razor's Edge is an odyssey of a man in search of himself. The transit nature of life and the brutality of war turn him into a "superfluous" man, who goes off on a quest to find himself. We can inundate this issue with metaphors until the cows come home, but that's Maugham's story. Old Somerset, a closet homosexual who was a volunteer in the horrorific WW1 went through a similar transformation and in a way, this novel, which he began back in the 20s, reflects that journey. Murray takes the character of Larry Darrell into a new domain. Why shouldn't he? He's not Tyrone Power. He's a comedian who plays a tragic role straight. There is much in this film that makes it superior to the 40s version. A stronger statement of the tragedy of the entanglement of the two women and a more intense presentation of the character of Larry. I saw this film when it first aired and recalled a young high school kid remarking to a friend upon exiting, "Man, this is a totally awesome movie." I agree. Alas, the critics and comedy-addicted Murray fa ns didn't and it flopped. Pity. It is a totally awesome movie.

I was prepared to hate this movie, when I first rented it. It was a 'curiosity pick': I liked the title, I didn't have anything else in mind, and my thought was, of course, "Bill Murray!?"

It turned out to be one of my all-time favorite movies in the 'character-transformation' genre.

It's a compelling story of choices in life and how those choices affect or disaffect perceptions of that life. Murray is perfection in this role, because we seem him change from something we recognize to something quite different. It is a palpable and comprehensible transformation - the movie draws us in, it allows us to change with him.

The rest of the characters are well cast and provide definitive counterpoint to the protagonist - the bon-vivant aristocratic uncle Elliot who simply lives his life appreciatively, the unthinking and manipulative Isabel concerned only with her own comforts and social standing, the uncertain Sophie that allows her uncertainty to trap and destroy her, the practical yet contemplative Raaz who challenges Darrell's notion of things, constructively, and leads him to further his quest. Good character development, all around.

Finally, I was impressed with the faithfulness to the book. It's difficult for a movie to be that, and still be an watchable movie.

I saw this movie when it was released in 1984. Being a big Bill Murray fan drew me to it and the story did the rest. It was my first year in college and I dreamed of running away with nothing but some books and a canvas bag. I dreamed vicariously through this movie for awhile. Who hasn't wanted to travel the world anonymously? It is the essence of life, the secret to life, that is held in the dream that Mr. Murray must have had at some point in his lifetime that drove him to make this movie.

For all you naysayers out there: Movies don't have to be perfect. Some can be appreciated for the trash quality (Wild Things), some for crassness (Something About Mary), and others for a single scene (Saving Private Ryan). This movie is for dreamers who don't give a fck what everyone else is doing.

Elegant but facile version of the Maugham novel, a passion project for Murray who is good in parts of the film but flat in others. On it's own an okay film hampered by over-length but compared to the Tyrone Power/Gene Tierney original, which has its own problems, it's a pale shadow. A good deal of the fault for that lies in both the direction and the performances. The general ennui of the performances may in fact be laid at the director's feet. All are capable actors as they've shown elsewhere but here be it a mismatch of actor/actress and part or lack of direction most founder.

Theresa Russell does the film's best work but even her Sophie is missing the bruised sorrow that made Anne Baxter's take on the part so compelling and won her the Oscar for best supporting actress. James Keach evaporates from the screen in a rather thankless role that John Payne managed to make an impression in with a show of quiet strength. Surprisingly the weakest of the star spots is Catherine Hicks, usually a very fine actress, adrift in her part. She exudes a warm presence on screen totally wrong for the heartless, mindlessly cruel Isabel that Gene Tierney playing with an icy edge made vivid.

A good try but only average.

The supposed 'straight' role that Bill Murray performed in this adaptation of the novel by the same name is why it failed. On the back of Stripes and then Ghostbusters, people found it hard to accept the deadpan face of Murray fronting a movie examining belief systems and the meaning of life.

The screenplay charts the spiritual and philosophical growth of Larry Darrell (Murray) as he begins to question the materialist world building up around him. Darrell's search within takes him across the globe through many different scenarios, and Murray adds a welcome dose of humanity and - to be quite frank humour, as he treads the path to salvation.

The novel by Somerset Maugham is an excellent read, and its not that the performance of Murray detracts from, or belittles the plight of Darrell, rather it enhances it.