L'homme qui tua la peur

Martin Ritt's first film offers an exceptional existentialist answer (three years later) to Elia Kazan's more conservative "On The Waterfront." While "Waterfront" benefited immensely from an electrifying Marlon Brando, who inadvertently disguised Kazan's offensive theme of trying to justify naming names (as Kazan did eagerly before the House Un-American Activities Committee), "Edge of the City" boasts a young John Cassavetes and an upstart Sidney Poitier daring to confront issues that "Waterfront" failed to acknowledge, namely, workers' rights and race relations.

"Edge of the City" boldly dives into this (then) unknown territory, and although the quite appealing black protagonist (Poitier) may seem a bit Hollywood simplistic, the courageous struggle against thinly-veiled bigotry and violence has hardly aged at all. One wonders how shocked initial 1957 moviegoers were at such a bold presentation of white-black relations (if some of the bigoted didn't leave the theater early, they must of left dumbfounded, if not offended).

The last reel of the film will still surprise audiences, as it refuses to sink into expected clichés, including those that tainted "Waterfront." While both films climax with a fight in front of stunned workers, director Ritt avoids the tiddy simplicity of Kazan's ratonalizied ending. Only the most jaded viewers will not realize "Edge" remains such a radical and entertaining film.

What's most disturbing about this lost classic: how it sadly stayed unavailable on any format, for reasons that remain quite cloudy until it surfaced in a Sidney Poitier compilation in late 2008. This film should be required viewing in high school or college history classes across the country, yet one can only find it on obscure late-night TV, if ever at all.

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.

A skillfully directed film by Martin Ritt where a drifter and anti-hero, John Cassevetes lands in N.Y. to escape a tragic incident in his life, where he killed his brother in an automobile accident as well as going AWOL from the army.

Cassavetes, always an intense actor, shows grit in his portrayal of a film. Am surprised that Montgomery Clift didn't get this part.

Ruth White is his mother and does remarkably well in two scenes on the telephone.

Once in New York, he befriends Sidney Poitier as the two work on the docks. Immediately, Jack Warden, a bully and villain in this film,takes a dislike to him and tragedy ensues when Poitier tries to defend his friend.

Ruby Dee, plays Poitier's wife in this film, and is brilliant in a scene where she urges Cassavetes to reveal the killer of her husband.

This is definitely an interesting film of moral values and the loner in society. With the backdrop of tenements, the right mood is depicted in the film.

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.

This is an excellent movie that tackles the issue of racism in a delicate and balanced way. Great performances all round but absolutely outstanding acting by Sidney Poitier.

He makes this movie breathe and alive. His portrayal of a guy who struggles against discrimination and violence is simply mind blowing. His acting is forceful and delicate and subtle at the same time. Truly worthy of an Oscar, Poitier had to wait (because of his skin colour) for many more years before the sheer brilliance of his acting was recognised by the Academy.

Cassavetes turns in a great performance too, withdrawn, troubled and realistic as it has become his hallmark. He and Poitier contrast inimitably the forces of cowardice, courage and human transformation through friendship.

The movie is enjoyable and at the same time deeply haunting in its portrayal of racism in the US. The irony is that it somehow mirrors the realities under which Poitier had to work.