A young lawyer is elected mayor of the city and promises to rid it of the corruption it's famous for. The problem is that most of the corruption he's vowed to eliminate is caused by the crooked political machine that helped elect him.
Charles E. Roberts
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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