The Naked Edge.

Review #2232: The Naked Edge.

Cast: 

Gary Cooper (George Radcliffe), Deborah Kerr (Martha Radcliffe), Eric Portman (Jeremy Clay), Ray McAnally (Donald Heath), Diane Cilento (Mrs. Heath), Hermione Gingold (Lilly Harris), Peter Cushing (Mr. Evan Wrack), Michael Wilding (Morris Brooke), Ronald Howard (Mr. Claridge), and 

Sandor Elès (Manfridi St John) Directed by Michael Anderson (#717 - Logan's Run and #1393 - Around the World in 80 Days)

Review: 

Admittedly, there is a bit of appeal in wondering what the fuss is about with the poster and a certain fact. The film is based on the 1955 novel First Train to Babylon, as written by Max Ehrlich. Joseph Stefano wrote the screenplay adaptation, and if you've seen the poster, that was the writer behind the screenplay adaptation for 1960's Psycho, likely his most famous accomplishment (in general, Stefano was involved more with television writing and occasional producing, such as the original The Outer Limits). Perhaps not surprisingly, the poster, and the last line of the film itself, as told to us by voiceover, do a gimmick similar to that film in not wanting audiences to be seated "during the last 13 minutes" (for a 97-minute film, but naturally it works to tell people to really hold in that break). Of course, now that one has that out of the way, this was the final film for its star in Cooper, who died of cancer on May 13, 1961, a month before the release of the film, which wasn't exactly a hit. He had worked with Anderson before with The Wreck of the Mary Deare (1959); the film was shot in London and at Elstree Studios in Borehamwood, Hertfordshire. 

The runtime is a funny one to have a "don't seat folks for the last couple" trick to, particularly for a film that seems to drag its tension out as much as possible. Really this is the kind of movie where people get suspicious of folks because of having the most amusing choice of words for phrasing, as evidenced by a scene where our lead is telling about raising money for a venture that came out because he "made a killing" on the stock market. One could possibly make a few edits and make it a comedy about a guy who does increasingly outlandish things with his wife that thinks he may be guilty (such as say, asking her to join him on the edge of a cliff - actually, that's in the film). The intro with a stabbing and the time spent with Cushing in the courtroom stuff does appeal to the most basic curiosities of mine, at least. Of course, Kerr was actually a pretty good actress in her own right to match up with Cooper (who was 20 years older than her). She makes those worries and doubts seem workable for something that really would've floundered under the weight of such amusing ambiguity with a lesser actress involved. That isn't to say that Cooper doesn't pair well with Kerr, but I think one can be forgiven for stating that there are times where a weary-seeming Cooper is not so much acting as it is a man trying to push through being tired. Cooper is worrisome enough to make Kerr's queries and fears over what really may be possible (or not) worth watching, although the best scene is with Cilento in terms of force and grace. Portman is at least adequate in the middle. The eventual ending is probably not ideal in the actual rundown, particularly with portions involving a struggle, but that doesn't sink the film completely at least because if one gets far enough to appreciate the film beforehand with its look in terms of cinematography (as shot by Erwin Hillier and Tony White) and bubbling dread, then one can't be too off. As a whole, it isn't exactly the finest hour for its stars or its director, but it has a nice look and probably enough ambiguity to seek out once if the curiosity factor is there enough to go in as cold as possible for its mystery, which for me just manages to make it over the finish line.

Overall, I give it 7 out of 10 stars.