The Spanish explorer Pizarro captures the Inca god-chief Atahualpa and promises to free him upon the delivery of a hoard of gold. But Pizarro finds himself torn between his desire for ... See full summary »
Jerry, not a member of the 'protest generation' but is instead, an 'All American boy,' is drafted into the Army, just as things begin to go well for him. His decision to flee to Canada ... See full summary »
It's time again for California's "Young American Miss" beauty pageant, the biggest event of the year for Big Bob Freelander and Brenda DiCarlo, who give their all to put on a successful ... See full summary »
In 1909, when young Paiute Indian Willie Boy returns to his California reservation to be with Lola, whose father disapproves of him, a killing in self defense takes place, triggering a massive man hunt for Willie.
A strange, low-budget film produced in the early 1950s, THE EDGE OF FURY was apparently released later in the decade. This must be one of the earliest films to attempt an objective, but sympathetic, look at a psychopathic personality. There is a framing device of the protagonist's former psychiatrist narrating his observations, along with the unfortunate disclaimer from a society that places monetary means above all else: because this man could not afford continued psychiatric treatment, his illness was allowed to wreak havoc.
Despite its modest means, the film has a definite impact. With stronger actors, it probably would have been even better, but Michael Higgens, in the lead (the only one who really makes an impression), provides enough conflicted angst in combination with a childlike sincerity to carry the plot. Higgens has worked pretty steadily for at least four decades and has proved himself a fine actor. (Some viewers may recall his appearance in "The Mice" episode of THE OUTER LIMITS.) In some ways, Higgens prefigures Norman Bates in PSYCHO, with his well-meaning innocence that masks a terrifying undercurrent.
Much of THE EDGE OF FURY is shot on beach locations (presumably on Long Island). While the film has a gradually darkening atmosphere, the sunny seaside views work to ironically underscore the danger inherent in the story. Conrad Hall's creative camera work adds much to the film, giving it a consistent look and lending interest to the overall objective style.
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