Although there's a few weaknesses in "Edge of Doom," all but one could be tweaked away. The one that can't be is the central role, and since so much of the movie revolves around it, any failure here is a real downer.
Perhaps the problem starts with the part itself. How is a young man in the tenements supposed to be remarkably sympathetic, to the point of conveying grace to at least two weary priests, and at the same time be a priest-killer? This can be done, but you better locate the right actor, and re-fashion the murder scene if you're to deliver it.
Perhaps a young Montgomery Clift could bring this off, but Farley Granger (Martin Lynn) could not and did not--and even a re-conception of the murder scene wouldn't have helped. Granger simply cannot effectively emote anger. And since he's angry, way too angry throughout--even to the point of making us identify with the police and all other characters over him, I don't have to spell out what this does to "Edge of Doom?" Granger's anger is not only stiff, but it's out of place or aimed at all the wrong people. It's the cut-out type-- misplaced, and inapplicable. And how is someone who is quite convincingly humble, alone, devoted, and sincere also such an annoying ingrate. I guess the whole point of this heavy layout of antagonism is to set in place his capacity for murder. But then, the rage is supposed to be out of character, not in-character.
I don't know why Robson doesn't temper Granger more. I suppose that Fathers Roth (Dana Andrews) and Kirkman (Harold Vermilyea) might miss a single beat or two because of the plot gyrations, but the supporting cast is well under control, especially Martin's boss, his girlfriend, and the police figures. And Father Roth, to a large degree, despite the too pietistic flashback narration, ends up holding the neighborhood, the parish, the police dept, the despairing lives around him, his world's intimacy (oh that diner scene, the precinct, the rectory, the flower shop) and the movie itself, together.
Perhaps the problem starts with the part itself. How is a young man in the tenements supposed to be remarkably sympathetic, to the point of conveying grace to at least two weary priests, and at the same time be a priest-killer? This can be done, but you better locate the right actor, and re-fashion the murder scene if you're to deliver it.
Perhaps a young Montgomery Clift could bring this off, but Farley Granger (Martin Lynn) could not and did not--and even a re-conception of the murder scene wouldn't have helped. Granger simply cannot effectively emote anger. And since he's angry, way too angry throughout--even to the point of making us identify with the police and all other characters over him, I don't have to spell out what this does to "Edge of Doom?" Granger's anger is not only stiff, but it's out of place or aimed at all the wrong people. It's the cut-out type-- misplaced, and inapplicable. And how is someone who is quite convincingly humble, alone, devoted, and sincere also such an annoying ingrate. I guess the whole point of this heavy layout of antagonism is to set in place his capacity for murder. But then, the rage is supposed to be out of character, not in-character.
I don't know why Robson doesn't temper Granger more. I suppose that Fathers Roth (Dana Andrews) and Kirkman (Harold Vermilyea) might miss a single beat or two because of the plot gyrations, but the supporting cast is well under control, especially Martin's boss, his girlfriend, and the police figures. And Father Roth, to a large degree, despite the too pietistic flashback narration, ends up holding the neighborhood, the parish, the police dept, the despairing lives around him, his world's intimacy (oh that diner scene, the precinct, the rectory, the flower shop) and the movie itself, together.