Edge of Doom


Crime / Drama / Film-Noir

IMDb Rating 6.4 10 518


Downloaded times
March 15, 2021



Dana Andrews as Hod Johnson
Ellen Corby as Hazel Squires
Farley Granger as Richard Stuart
Mala Powers as Val Owens
720p.WEB 1080p.WEB
893.84 MB
English 2.0
23.976 fps
99 min
P/S N/A / N/A
1.62 GB
English 2.0
23.976 fps
99 min
P/S N/A / N/A

Movie Reviews

Reviewed by bmacv 8 / 10 / 10

One of the bleakest, most pessimistic films of the noir cycle

When Edge of Doom was first released, audiences turned away from it with the coldest of shoulders. It was yanked out of circulation so that a pair of bookends could be shot, in which the story becomes a kind of parable told by a wise old rector (Dana Andrews) to a younger priest undergoing a pastoral crisis. The filmmakers shouldn't have bothered: Edge of Doom remains one of the bleakest, least comforting offerings of the entire noir cycle (no mean feat), and probably the most irreligious movie ever made in America. When Farley Granger's devout but tubercular mother dies, it precipitates a rampage against everything that makes up the prison of his life: his ugly urban poverty; his penny-pinching employer who offers promises rather than a raise; the Church, which once refused burial to his father, a suicide, and is now refusing his mother the "big" funeral he thinks he owes her; the smarmy, sanctimonious undertaker. Long story short, he ends up murdering a crusty, hell-and-brimstone priest. The police nab him for a robbery he didn't commit but end up with a different murder suspect. But compassionate pastor Dana Andrews (now in flashback) suspects the truth.... There's something almost endearingly Old Left about the savagery of the indictment leveled against society's Big Guns: Church, police and capitalism. The slum where Granger lived with his mother makes Ralph and Alice Kramden's Chauncey Street digs in Brooklyn look cozily inviting (Adele Jergens, as the slatternly wife of a neighbor, observes, "Smart people don't live here"); outside, the nighttown is noir at its most exhilaratingly creepy. It's easy to see why the public, on the cusp of the fabulous fifties, shunned this movie, whose unprettiness is uncompromised. But it's as succinct a summing up of the noir vision as anything in the canon.

Reviewed by Doylenf 7 / 10 / 10

Surprisingly bleak noir style for a film of the early '50s...

That a film of this sort should come from Samuel Goldwyn is in itself quite a surprise, for he was much more apt to produce something with an uplifting feeling (THE BISHOP'S WIFE, ENCHANTMENT) than a grim study of the lower fringes of society. He gave it some box-office assurance by combining DANA ANDREWS (as a priest) and FARLEY GRANGER (as a victimized youth from the slums). But in telling a story of how the poor boy becomes a criminal on the run, it fails to inject enough ingredients to make the screenplay work on any level. And that, too, is surprising, since the screenplay is the work of Philip Yordan and it is directed in bleak, noir fashion by none other than Mark Robson. But neither of the two priest characters are well developed--the testy, aging priest who is murdered and his young assistant (played by DANA ANDREWS) are not given the amount of detail they were in the novel to explain their background and motives. This is equally true of the tormented young man who rebels against the Catholic Church's treatment of his father's death and his mother's funeral. Granger, however, is good in his edgy role. Bleak and uncompromising, it nevertheless appeared to be a film ahead of its time and would probably be more appreciated today by fans of gritty film noir, as it captures the streets, the noise, and general atmosphere of a very blighted city.

Reviewed by secondtake 7 / 10 / 10

Worth the free fall into glowering gloom just for the grit and pluck...

Edge of Doom (1950) It would be hard to find a movie as unrelentingly dark and brooding as this one. Everyone from the priest to the hero's mother, from the sweet girlfriend to the neighbor down the hall is burdened with the pain of everyday life. Most of the scenes at night, too, or inside dark rooms and hallways, or both, so the shadowy world only descends lower. And this is partly what makes it really work. Dana Andrews is a worldly, reflective priest in a tale of redemption, actually, against all this gloom. The protagonist is a young Farley Granger, who gets in trouble from a single rash act, and is in a tailspin for the rest of the movie. From one shadowy scene to another, running through dark streets or hiding in a dingy apartment, Granger has to face his inner demon. But Granger, like Andrews, is a thoroughly decent person inside, and the movie, despite all the negative vibes, is about faith and goodness. Director Mark Robson is not a big name, of course, but he paid his dues with some of the best--Robert Wise and Val Lewton. And he came out of an era of Hollywood that was uncompromising in its technical quality. It shows. This is a movie with a single main theme, and if it has impassioned acting and high dramatics (at times) it also is gritty and single minded, too. The plot is packaged too neatly, and littered with Andrews narrating through the long flashback. That's its one limitation--that it's limited. But what it does do it does with real intensity.

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