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The Razor's Edge (1946)

 -  Drama  -  December 1946 (USA)
7.6
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Ratings: 7.6/10 from 3,184 users  
Reviews: 77 user | 23 critic

An adventuresome young man goes off to find himself and loses his socialite fiancée in the process. But when he returns 10 years later, she will stop at nothing to get him back, even though she is already married.

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(screen play), (from the novel by), 1 more credit »
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Title: The Razor's Edge (1946)

The Razor's Edge (1946) on IMDb 7.6/10

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Won 1 Oscar. Another 2 wins & 3 nominations. See more awards »

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Cast

Complete credited cast:
...
...
...
...
...
Herbert Marshall ...
Lucile Watson ...
Frank Latimore ...
...
Miss Keith
Fritz Kortner ...
Kosti
...
Joseph - Butler
Cecil Humphreys ...
Holy Man
Harry Pilcer ...
Specialty Dancer
Cobina Wright Sr. ...
Princess Novemali
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Storyline

Well-to-do Chicagoan, Larry Darrell, breaks off his engagement to Isabel and travels the world seeking enlightenment, eventually finding his guru India. Isabel marries Gray, and following the crash of 1929, is invited to live in Paris with her rich, social climbing, Uncle Elliot. During a sojurn there, Larry, having attained his goal, is reunited with Isabel. While slumming one night Larry, Isabel and company are shocked to discover Sophie, a friend from Chicago. Having lost her husband and child in a tragic accident, Sophie is living the low-life with the help of drugs and an abusive brute. Larry tries to rehabilitate her, but his efforts are sabotaged by Isabel who tries in vain to reignite Larry's interest in herself. Written by Richard Blinkal <phelam@netcom.com>

Plot Summary | Add Synopsis

Taglines:

Hunger no love . . . woman . . . or wealth could satisfy!

Genres:

Drama

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

|

Release Date:

December 1946 (USA)  »

Also Known As:

W. Somerset Maugham's The Razor's Edge  »

Filming Locations:

 »

Box Office

Budget:

$1,200,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Betty Grable and Judy Garland were considered for the role of Sophie but both turned it down as too depressing. See more »

Goofs

Tyrone's sideburns don't match and keep changing at the beginning of the film. See more »

Quotes

Elliott Templeton: I'm afraid I haven't a very good account to give you of that young man, Louisa.
Louisa Bradley: Oh?
Elliott Templeton: When he first came over to Paris, for Isabel's sake, I asked him to lunch to meet the sort of people he ought to know. He told me he didn't eat lunch.
Louisa Bradley: Perhaps he doesn't.
Elliott Templeton: And then, when I asked him to dinner, he said he couldn't come because he had no evening clothes. If I live to be a hundred, I will never understand how any young man could come to Paris without evening clothes.
Louisa Bradley: Maybe he just didn't want to.
Elliott Templeton: ...
See more »

Crazy Credits

When the screenplay credits are shown, a curious symbol appears near W. Somerset Maugham's name. It's a symbol meant to ward off the evil eye, and it more often than not appeared on the covers of many of Maugham's novels. See more »

Connections

Referenced in It's a Grand Old Nag (1947) See more »

Soundtracks

Mam'selle
(uncredited)
Original music by Ray Dorey
Published music by Edmund Goulding (1946) with
English lyrics by Mack Gordon (1946)
Sung in French by Robert Laurent at a bistro and danced by couples
Played as background music often
See more »

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User Reviews

 
Brilliantly cinematic adaptation in the grand Hollywood style
31 October 2000 | by See all my reviews

I discovered this movie only recently and have watched it three times in the last two months. It's the kind of movie that rewards repeated viewings. The story, as others have commented, is moving and inspiring and way ahead of its time, dealing as it does with topics (the philosophical/spiritual quest for meaning in life, alcoholism, psychic healing, class divisions, post-war trauma, greed vs. self sacrifice) that one would expect in a movie taking place in the nineteen sixties rather than one taking place immediately following World War I. It offers the pleasure of Hollywood glamour of a very high order with one spectacular set-piece after another. Over and over, one is amazed at the staging of scenes set at balls, restaurants, night-clubs, Paris streets, factories, etc. Many jaw-dropping, pre-steadycam long takes involve the choreography of dozens of elements, e.g. one long take outside a Paris railway station, or another crane shot in a Paris night club as the camera searches the crowd for the protagonists. Everyone involved with the film seems to be working at his or her peak, from director Goulding to composer Alfred Newman, to all the perfectly cast actors. The screenplay is filled with brilliant cinematic story-telling devices (ironic voice-overs, montage sequences, foreshadowings, symbolism (the use of water and the ocean in so many scenes)that keep a long and complex story moving so smoothly that the two-hour-plus running time is hardly noticed at all. The cinematography by someone named Arthur Miller is gorgeous with lighting effects and moving camerawork that rank in the pantheon of Hollywood's visual creations. This is a great film.


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