6.4/10
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16 user 4 critic

Edge of Doom (1950)

A mentally unbalanced young man kills a priest. One of the priest's colleagues sets out to find the killer.

Director:

Mark Robson

Writers:

Leo Brady (novel), Philip Yordan
Reviews
1 win. See more awards »

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Stars: Dana Andrews, Jean Peters, Cesar Romero
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Cast

Cast overview, first billed only:
Dana Andrews ... Father Thomas Roth
Farley Granger ... Martin Lynn
Joan Evans ... Rita Conroy
Robert Keith ... Detect. Lieutenant Mandel
Paul Stewart ... Mr. Craig
Mala Powers ... Julie
Adele Jergens ... Irene
Harold Vermilyea ... Father Kirkman
John Ridgely ... 1st Detective
Douglas Fowley ... 2nd Detective
Mabel Paige ... Mrs. Pearson
Howland Chamberlain Howland Chamberlain ... Mr. Murray, the Funeral Director
Houseley Stevenson ... Mr. Swanson, the Florist (as Houseley Stevenson Sr.)
Jean Inness Jean Inness ... Mrs. Lally (as Jean Innes)
Ellen Corby ... Mrs. Jeanette Moore
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Storyline

A poor and alienated young man (Farley Granger) who is driven to murder when a priest refuses to give is deceased mother an expensive funeral. The film explores the crippling poverty that has prevented the youth from marrying or providing his mother with enough comforts, and has led to his crime. Dana Andrews plays the compassionate assistant of the slain priest who brings about the tormented killer's repentance. Written by alfiehitchie

Plot Summary | Add Synopsis

Plot Keywords:

murder | based on novel | See All (2) »

Taglines:

DID A WOMAN'S SOFT, WARM ARMS LEAD HIM TO MURDER? (original print ad - all caps) See more »

Genres:

Drama | Film-Noir

Certificate:

See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

3 August 1950 (USA) See more »

Also Known As:

Auf des Schicksals Schneide See more »

Filming Locations:

Los Angeles, California, USA See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Granger gets caught in a mob gathering outside the Galaxy movie theater. The marquee shows it is playing "Our Very Own," which was the movie Farley Granger and Joan Evans made prior to this film. See more »

Goofs

Ned Moore assaults the priest, Father Thomas Roth, in the rectory and as the priest falls to the floor, his Roman collar falls open and hangs loose. He stands up to continue the fight with his collar fully intact. See more »

Quotes

Father Thomas Roth: You may have given up on God, but he won't give up on you.
See more »

Connections

Referenced in Watching the Detectives (2007) See more »

Soundtracks

I Love An Old Fashioned Song
(uncredited)
Music by Jule Styne
See more »

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User Reviews

 
One of the bleakest, most pessimistic films of the noir cycle
26 October 2001 | by bmacvSee all my reviews

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.


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