Hellen I like the storyline of this show,it attract me so much

Smartorhypo Highly Overrated But Still Good

ShangLuda Admirable film.

Fairaher The film makes a home in your brain and the only cure is to see it again.

Spikeopath Edge of Doom is directed by Mark Robson and adapted to screenplay by Philip Yordan from the novel written by Leo Brady. It stars Dana Andrews, Farley Granger, Joan Evans, Robert Keith, Paul Stewart, Mala Powers and Adele Jergens. Music is by Hugo Friedhofer and cinematography by Harry Stradling.Give evil a root and it will grow and thrive.Relentlessly grim in thematics and mounted in classic film noir style by Robson and Stradling, if it were not for the heavy religio angle then we would be talking about one of film noir's highlights. Bookended by pious pontifications as Dana Andrews' priest offers his wisdom to a new understudy, everything in between is tinged by a bleakness as Granger's poverty stricken young man desperately tries to arrange a "big" funeral for his just deceased mother.With a mother fixation firmly planted on his shoulders, Martin Lynn trawls through the oppressive and unforgiving city looking for help but finding none. His employer, the church, nobody, so when his temper finally snaps he also has to contend with guilt and the police circling him like a straight-jacket. All the while Father Roth is hanging around to show the good side of the church, even turning into the punching preacher at one point. But can he grant salvation to a frantic Martin Lynn as his soul begins to fracture?Samuel Goldwyn effectively stopped backing the picture and Granger pretty much disowned it, unsurprisingly it flopped at the box office and has sort of languished in noir purgatory ever since. Shifting too much of the focus onto Father Roth really hurts the film, where Goldwyn had Robson do a re-edit and hired Ben Hecht to spruce up the religious theme. There's also a problem with Granger over acting at times, while Andrews is a touch miscast in a role tailor made for Pat O'Brien. Though the support players, particularly Keith and Stewart, more than compensate.There's enough bite in the narrative to do justice to the excellent visuals, a cynicism that haunts the shadows of this seamy side of the city, but this really should have, and could have, been so much better. 7/10

zetes Excellent, truly depressing, forgotten noir starring Farley Granger. He plays a young man who's had an incredibly difficult life: he has grown up poor. His father, when he was a teenager, committed suicide after committing a robbery. The church denied providing any services for his father and basically told Granger and his mother that the guy was doomed to rot in Hell. Granger's mom was too religious to give it up, but Granger holds a powerful grudge for the church. The film opens with his mother dying, and Granger has to honor his mother's final wishes by going to the church to get her a funeral. A big one, he insists, because she never had anything good in life. Unfortunately, the priest his mother trusts (Dana Andrews) is out on a call, and he is forced to deal with the same priest (Harold Vermilyea) who denied his father a proper burial. This agitates Granger so much, he ends up committing a horrible crime. Andrews is quicker to understand the truth than the police, so he tries to get Granger to turn himself in before he gets himself in more trouble. Both Granger and Andrews are very good in their roles, and Mark Robson, who previously directed several horror films in the Val Lewton cycle, does an excellent job ratcheting up the suspense. This was kind of a bomb on its first release. It perhaps was too dark, even for the genre. Farley Granger didn't think it was very good, but he was wrong. He should have been proud of it. You can find this film right now on Netflix Instant. It was on VHS, but has never been on DVD.

bkoganbing One of the reasons that I liked Edge Of Doom is the fact that Catholic priests are portrayed as human. In that the contrast in the behavior of Dana Andrews and Harold Vermilyea is the key to the film, not withstanding the performance of Farley Granger as the protagonist, a sensitive troubled youth driven to rage and murder.Harold Vermilyea is a thirty year veteran of the skid row parish he's been assigned to. Faces have changed, but conditions haven't and he's seeing that his religious message hasn't brought much change. He's suffering from the very human condition of burnout. So when Farley Granger who has a history with the church consisting of his father not being given a Catholic funeral because he was a suicide comes to Vermilyea asking for a big celebratory funeral for his mother who was a believer who never lost faith and being told no, the rage takes over him. He clubs Vermilyea with a heavy crucifix and kills him.Vermilyea is having a family crisis of his own, his niece has run off with a divorced man and is having a civil ceremony because the church won't marry them. He was also bound by Catholic rules not to give Granger's father a Catholic rite because of those selfsame rules. All that Granger doesn't know and when we seek guidance from clergy in any faith we never know what's in their background that could affect their actions with us.Anyway Granger spends the rest of the film with a troubled conscience which Dana Andrews suspects, but can't really prove. Since he hasn't come to him in confession there's no vow of silence unlike O.E. Hasse who tormented Montgomery Clift with that in I Confess. So Andrews is free to help the police investigation which is headed by Robert Keith.But Andrews is a priest in the best G.K. Chesterton tradition, as much concerned with Granger's soul as with solving the case. That's his dilemma. You can also see that he looks at Vermilyea and thinks that this could be him in another twenty years.Edge Of Doom is one of the bleakest noir films ever made. It offers no solutions to any problems. People seemed bound by fate and trapped by the dogma they believe. Some similar themes in a secular vein were also expressed in the Humphrey Bogart film Knock On Any Door which came out a year earlier with Bogart as an attorney and John Derek a young client who has a lot of history and baggage. It's a fine film, but prepare yourself for a real downer.

rfkeser Samuel Goldwyn produced this hybrid of social consciousness, religion and noir stylistics, which is not successful on any level. The plot pits wise priest Dana Andrews against clean-cut slum kid Farley Granger. Ironically, this anti-poverty lesson is decked out in a sumptuous production, complete with Harry Stradling's glowing photography of the mean streets.