Jerry McKibbon is a tough, no nonsense reporter, mentoring special prosecutor John Conroy in routing out corrupt officials in the city, which may even include Conroy's own police detective father as a suspect.
A police lt. is ordered to stop investigating deadly crime boss Mr. Brown, because he hasn't been able to get any hard evidence against him. He then goes after Brown's girlfriend who despises him, for information instead.
When the available evidence in a murder case points to a young woman as the main suspect, her boyfriend, a police detective, arranges for a struggling songwriter who is playing piano in a ... See full summary »
The Very Edge is directed by Cyril Frankel and written by Leslie Bricusse and Vivian Cox. It stars Richard Todd, Anne Heywood, Jack Hedley, Jeremy Brett, Nicole Maurey, Maurice Denham, William Lucas and Patrick Magee. Music is by David Lee and cinematography by Robert Huke.
After she is assaulted in her own home by unhinged admirer Mullen (Brett), Tracey Lawrence (Heywood) struggles to keep control of her marriage to Geoffrey (Todd), who himself doesn't quite know how to react to Tracey's trauma. More pressing is that Mullen is still on the loose and clearly isn't going to go away...
It should be better, there is so much promise on offer of a real frightening "stalker" movie, but it ultimately ends up as a standard meller. Where it does score favourably is with the character strands that deal with a once happy marriage coming apart at the seams post the trauma incident. Things are further complicated by husband Geoffrey's French personal assistant, Helen (Maurey), who senses the time is right to confess her passions for Geoff!
Lurking around the dark corners of this emotionally bubbling human stew is Mullen, a genuinely twitchy and edgy menace of frightening capabilities, with the character brilliantly realised by future Sherlock Holmes, Jeremy Brett. It's all built competently by Frankel, brick by formulaic brick, right up to a roof top finale which brings the audience of the time the expected results. Magee is unfortunately only used sparingly, but with Heywood and Brett giving riveting readings, the staid acting elsewhere doesn't hurt the picture. While David Lee's music is excellent, a constant low tone plinking of foreboding menace.
A wasted opportunity? Yes, pretty much, but some value to be found in certain quarters. 6.5/10
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