The City's Edge (1983)

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Small film about a young man (Weaving) who moves into a boardinghouse in a marginal part of Sydney in an effort to come to terms with his father's death and become a writer. He gets ... See full summary »


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Cast overview, first billed only:
Andy White
Jack Collins
Shirley Cameron ...
Mark Lee ...
Jim Wentworth
Ralph Cotterill ...
Julie McGregor ...
Alan Becher ...
Katrina Foster ...
Laura Wentworth
Youth at Party
Sno Norton-Sinclair ...
Girl Junkie
Tim McLean ...
Boy Junkie
Prostitute 1
Susan Leith ...
Prostitute 2
Zoro ...
Ian Mortimer ...
Thug 1


Small film about a young man (Weaving) who moves into a boardinghouse in a marginal part of Sydney in an effort to come to terms with his father's death and become a writer. He gets enmeshed in the lives of the boarders, including a junkie, his sister, and an aboriginal activist. Written by Anonymous

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Also Known As:

Edge of the City  »

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Aspect Ratio:

1.85 : 1
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User Reviews

A Film Of The Very Lowest Quality.
20 February 2002 | by (Mountain Mesa, California) – See all my reviews

Ken Quinnell was mistakenly touted as one of a talented new breed of Australian directors when this picture was released, his first and, appropriately, his final film. Andy White (Hugo Weaving) is a young man who is attempting to find his place in life after the death of a hated father and, after travelling to Sydney, he moves into a sleazy apartment building whereupon we share his experiences. While attempting to write an autobiographical novel, Andy forms relationships with other inhabitants of the building, notably Jim (Mark Lee) and Jack (Tommy Lewis) an aborigine activist who claims to run the lives for the residents therein. Andy also begins an affair with Jim's sister Laura (Katrina Foster) who renders continuing assistance to her brother in an attempt to bring about a cure for his narcotic addiction. Other than a hope for Jim's redemption, there is precious little with which the viewer might be concerned as the various odd creatures who live in the roach infested establishment become increasingly cross-pollinated by the clumsily constructed script. A world outside of Sydney or other climes is totally remote from this crew of misfits as we are given no insight as to the genealogy of their wayward ways. The scenario, co-written by the director, is marred by an ongoing string of pronouncements rather than dialogue for the beleaguered cast, and is heavily marbled with cliché. To bolster a stuttering plot, we are given scenes filled with murder, suicide, incest, racial prejudice, and sundry violence and drug usage, but to which purposes are never made clear. Hugo Weaving, here at the beginning of his career, makes a strong impression as always, but eventually loses his way through the storyline, which possesses scant sense at any point, and that little dissipated by the weak direction. Oddly, the film has strong visuals, but one must sympathize with Foster, whose apparent emotional state is consistently catatonic, as if she is wondering if she can continue dealing with her limp dialogue.

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