The Razor's Edge
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Movie Reviews of The Razor's Edge
Movie Review: And What A Sharp Edge It Is!
Summary: 4 Stars
A wonderful, home-hitting post war film that definitely succeeds in its touching and sometimes searing portrait of a young man searching for the meaning of life after witnessing such suffering, pain and sacrifice. After serving and surviving WWI, he is at a loss as to where to go from there.
Larry Darrell wants to find himself, but his need is not understood or appreciated by his fiancée, the beautiful but selfish Isabel, who wants a good society position and money. Her stuffy, snobbish uncle Elliot wants Larry out of her life for those exact reasons - he's not wealthy enough. So we have the foundation for a watchable drama.
Gene Tierney looks lovely, and Tyrone Power (who, along with Dana Andrews, was one of her best leading men) more than matches her, and they look gorgeous together. Their performances are superb and flawless, and the same can be said for Clifton Webb, Herbert Marshall, John Payne, and of course, the Oscar-winning Anne Baxter as the ill-fated Sophie.
Biblical symbolism is evident in many of the scenes, and one cannot help but compare Isabel to Tierney's Oscar-nominated performance a year earlier in "Leave Her To Heaven". Isabel, like Ellen, is a manipulative, controlling and jealous woman, who wants Larry all to herself, even after she marries the gentle, wealthy Gray (John Payne), who doesn't realize how he's been used. Tierney's character is dressed in black and a floppy black hat when flaunting a drink in front of Sophie, tempting her like a serpent. And when Larry asks her about this incident, she proceeds to spin a lie, trying to make it look like an innocent misunderstanding, until he calls her on it. As with LHTH, she admits the truth with the line, "I did it and I'd do it again!", and goes into detail of how she did this for his own good, all for the love of him, trying to "save him" from what in her view was a disastrous mistake. How she could turn on a woman who was once her close friend is a question that, besides the jealousy factor, isn't really explained.
Baxter's portrayal of Sophie is brilliant, and she justly deserved the Oscar she received. Sophie is like Mary Magdalene or Eve, tempted by the demon liquor (no thanks to Isabel) and lured into prostitution, and Larry tries heroically and compassionately to save her. Her death is something that she began seeking after the tragic accident that claimed the lives of her husband and baby daughter. It is so easy to tear up during the sequence in the apartment when Sophie looks at the photograph of Isabel and Gray's eldest daughter and thinks about her own little girl that she lost, and Isabel almost looks sympathetic. After Larry tells a shocked Isabel of Sophie's demise, he compassionately and gently states, "There's no need to be shocked about Sophie any longer, Isabel. I've had the feeling all day that Sophie's where she wants to be most - with Bob and Linda. I know that's a simple way to look at it, but it's comforting." Marshall is wonderful as Maugham, the narrator, who observes all this drama and who comments on it, and who even goes so far as to appeal to Isabel's vanity in order to get back on her good graces. The scenes with Isabel and Gray's children are very sweet, with Isabel speaking to them in French (Tierney was fluent in that language, as she attended a finishing school in Europe). Larry can't bring himself to be angry with Isabel, despite what she's done, and Isabel can't bring herself to hurt Gray, as much as she loves Larry. And Larry's travels (although those bogus backdrops do little to convince that he actually is in those exotic locations), are a definite plus, his experiences shared with the viewer in order to find what he's looking for, and in a sense, to help us discover the meaning of life too. "Do you know what it's like to see another man give up his life for you? That someone deliberately died so that you might go on living?" Larry asks Isabel, who obviously has never experienced what he refers to. Even as she declares her love for him, regretting how she rejected his marriage proposal years before, we know that a life with Isabel is no longer in the cards. And when Larry says, "Goodbye, Isabel, and take good care of Gray. He needs you now more than ever", it is a fitting exit line as Power decides to continue on his journey of self-discovery.
"You see, my dear, goodness is no doubt the greatest force in the world, and he's got it," Maugham explains to a sorrowing and astonished Isabel, letting her (and the audience) know what quality Larry possesses and what he is in search of - goodness.
And we watch as Maugham's protagonist boards a ship, still in search of himself, but much more at peace.
It's well worth the running time, although the novel was very difficult to adapt to film, and it's a rewarding experience for those willing to sit down and absorb the message of "The Razor's Edge".
Movie Review: Life on the Razor's Edge
Summary: 4 Stars
Well directed and acted, The Razor's Edge is a minor epic of sorts. It is polished, classy, lavish; has a large budget and cast (but not of thousands); and spans a series of earthshaking events of historical significance. W. Somerset Maugham sees us all living on the edge of peril in one way or another. Most do so unsuspectingly; a few as a matter of volition. Maugham takes us on a journey through the lives of a group of friends from their post-World War One, halcyon days to the dark years following the 1929 stock market crash.
As the story begins, the main characters, unaware of their fate, live precariously close to the edge of ruin. For Isabel and Gray Maturin (Gene Tierney, John Payne) it is financial; Sophie Macdonald (Anne Baxter) has no bulwark against the whips of `outrageous fortune' in her family life; and Maugham's good "chum," Elliot Templeton (Clifton Webb), the persnickety, unmarried uncle, draws nearer to the end of his time on earth.
Maugham fixes the source of human tragedy deeply within the heavens, not any flaw in individual character. Circumstance and the times we live in govern destiny, as mortals skirt the brink of disaster, helpless to prevent being sucked into a maelstrom of adversity. At one point, shocked and stunned by the news of Sophie's life of despair, Larry Darrel remarks, "She was as normal as any person I know."
Only Darrell (Tyrone Power) embraces hardship consciously after undergoing a spiritual transformation brought about by the death of a friend who died saving his life during "the war to end all wars." He willing sacrifices love and career to `the death by a thousand cuts' by going on a life's journey, choosing the path of a wandering ascetic, working hard, parlous jobs; and seeks enlightenment from an Indian holy man residing on a remote mountain top to discover himself, and meaning in life. This element of the plot provides a few awkward moments for an otherwise entertaining film, but nevertheless, concerns a passage undertaken by like-minded mendicants since ancient times. Larry, above all, abides by the proverb "Physician heal thyself," and acquires a measure of spiritual power to rejuvenate spent souls. But, he is no match for the cunning, `unenlightened' Isabel.
The Maturins, living like the fable halcyon perched near the jagged edge of a precipice, have made their nest too close to a raging sea. After the great crash, they discover there is nothing sure to build on; as did Sophie Macdonald, cruelly woken up from her dream of domestic bliss. Maugham's world is one great paradox, as observed by Duke Vincentio in Shakespeare's Measure for Measure: "...merely, thou art death's fool; For him thou labour'st by thy flight to shun, And yet runn'st toward him still." Maugham's keen sense of irony is at its sharpest; for Larry Darrel, the enlightened warrior for peace, avoids the worst by holding the blade securely to his bosom; not letting it slip.
Tyrone Power as the saintly, naïve Larry Darrel appears to lack depth, but child-like innocence is characteristic of 'the pure in heart;' and is highly effective in his fair share of shock and revelation shots. Gene Tierney, Maugham's choice for the part, is at her best (it is hard to take your eyes off of her) and displays a variety of acting skills; likewise for Anne Baxter's moving performance as a fallen angel. Good-tempered, as in real-life, W. Somerset Maugham, flawless played by Herbert Marshall, is observer, and acts as advisor, mentor and councilor.
The Razor's Edge is a very good piece of filmmaking; and, in spite of few weaknesses, never fails to entertain. This film combines a dramatized version of Maugham's insights into the human condition with some exceptional cinematography, making it a marvelous movie to watch.
Movie Review: "There must be more to life than this"
Summary: 4 Stars
Beautifully directed by Edmund Goulding, this sumptuous, and prestigious adaptation of Somerset Maugham's novel was made in 1946 to great acclaim. It's a tale of manipulation, greed, unrequited love, and the eternal search for spiritual enlightenment. Larry Darrell the central character - and played in the movie by the startlingly attractive Tyrone Power - searches for life's meaning in a journey that takes him from the high society of Chicago to the coal mines of France and then on to the mountains of the Himalayas.
Larry Darrell (Power) is a frustrated man. Having just returned to Chicago after World War 1, and having seen his best friend killed, he dodges a future as a stockbroker and instead goes to Paris to seek enlightenment, much to the chagrin of his wealthy and stuck-up fiancée Isabel Bradley (a gorgeous Gene Tierney). Although her snobbish uncle Elliott Templeton (Clifton Webb), would rather she forget Larry and move on with her life, Isabel, however, continues to be smitten and follows Larry to Paris to force him into a decision.
Once in Paris, Isabel spurns his austere lifestyle and again tries to talk him to coming back to Chicago and earning lots of money by participating in the "American dream." Larry, however, has other ideas and decides to seek his destiny, first in a French coalmine, and later from the Buddhist teachings of an Eastern Holy Man (Cecil Humphries) high atop an Indian mountain. Meanwhile, Isabel, still desperately in love with Larry, marries the sincere and hardworking stockbroker Gray Maturin (John Payne).
Several years later the characters meet up again in Paris, but their lives have taken a turn for the worse. Only Larry, who has found Buddhism a useful tool for living a happy life, can rise above post depression malaise that seems to have swept them all. Most distraught is the young and beautiful Sophie (an incredible Ann Baxter in the performance of a lifetime) who, having lost her darling husband and child in a car accident, has turned to drinking and become a fallen woman.
Goulding indulges in lots of voluptuously lit scenes in front of water fountains. There's also lots of carousing, attempts at seduction, boozing, and some wickedly catty dialogue. Tierney is obviously reveling in the role as Isabel. She's a spoiled rich girl who can't help falling for Larry, but won't give up her social status in the name of love. She painstakingly tries to weave a web of seduction around Larry, but when she discovers that Larry is to marry Sophie in order to save her from a life of debauchery, Isabel does everything within her machiavellian power to send Sophie back to her squalid and drunken life.
Razor's Edge offers a compelling and convincing group of characters as they struggle with appearances and issues that end up dictating and controlling their lives. The movie's narrative arc is unusually dense, which may initially put off some viewers, but the material remains undeniably satisfying, alternating between vitriolic melodrama and copious scenes of the rich enjoying their entitlements.
Power is terrific as Larry; he brings an unusual mix of good looks and suave intelligence to the role, and the incomparably debonair Herbert Marshall puts on a good show as the story's narrator and moral center Somerset Maugham. The scene when he corners an incensed Isabel and soothes her with sycophancy, adulation, and poetic appreciation is one of the best in the film. But the most the celebrated performance is Anne Baxter's tragic Sophie (she got the Oscar), who lacks the will to continue on and who eventually falls victim to the jealousy, selfishness, and insensitivity of her more wealthy friends. Mike Leonard July 05.
Movie Review: Post war blockbuster
Summary: 4 Stars
With the ending of World War 2, the American film moved to a more mature product which suited the postwar gravity and no studio was more at the forefront than 20th Century Fox. Many of their films of this period stand up better today than any other studio's output. "The Razor's Edge" is a long version of Somerset Maugham's novel in which Larry Darrell, played by Tyrone Power, explores "the meaning of life". The novel was probably unfilmable so if this version is not completely faithful, it certainly cleverly "adapts" the story.
The film celebrated the return of Tyrone Power to Fox after war duty and although he had matured as an actor, he gives a monotonous and wooden performance as Darrell. In fairness, the role is probably impossible. There are some deep and meaningful monologues which Power delivers with suitable conviction but it is never clear exactly what he is looking for or what he finds along the way. The screenplay has too many holes. It seems to be God/religion but this may have been impossible to expound in 1946 Hollywood. In the end, Power is described as a truly good man which seems a little thin after such a long journey.
More intelligible is Larry Darrell's rejection of materialism and this theme still resonates today. Gene Tierney plays Isabel who loves Power but gives him up for money and social position. Tierney's character symbolises a shallow and and selfish existence. She perfectly captures a manipulative predatory female beneath good looks and gracious manners. She is also spectacularly photographed and gowned. Anne Baxter won an Oscar for her portrayal of the tragic Sophie and she is touching, if somewhat overblown. Her scene with Tierney, who is like a serpent in the garden of Eden, when she takes to drink is riveting. When she finally succumbs to temptation, it is done with a minimum of histrionics. Clifton Webb as Tierney's snobbish uncle and Lucille Watson as her mother are excellent. Herbert Marshall plays Maugham himself and although he looks ill and haggard in some scenes, his commentary of the action is vital to the flow of the drama. John Payne plays the man Tierney marries for money and he is hopeless.
The film is sumptuously made with the exception of some poor backdrops in India which really undermine these crucial scenes. When Power leaves the hut in the mountains, the visuals are really over the top, heavy with symbolism and all but the angels singing! Edmund Goulding's direction uses long takes and sometimes you get the feeling that the movement of the actors, particularly Tierney and Power, is unnatural - move to position A, read lines, move to position B, turn etc. It is more like direction for the stage and it contributes to the static feeling the film engenders.
The DVD print is excellent and there is a worthwhile commentary which is neatly paced so you can watch the film at the same time. Two commentators share duties and they particularly remind us that Somerset Maugham was a giant in the literary world at the time the film was made. The other extras are minor. The film can be viewed as a biblical allegory and as such is quite successful. Otherwise, it may seem stilted and boring.
Movie Review: Pretentious, glossy entertainment
Summary: 4 Stars
The film version of W. Somerset Maugham's novel "The Razor's Edge" must have been another of Darryl F. Zanuck's shameless bids for a best picture Oscar, an obsession with the producer from the moment his 1944 film "Wilson," a biography of the U.S. president, failed to win the gold. The Academy had demonstrated, as they continue to do, that "prestige" pictures, movies that aspire to more than entertainment, were favored over lighter fare, and Zanuck made it a point to have at least one such attraction made at 20th Century Fox each year until he got his hands on the top prize.
"The Razor's Edge" earned a best picture nomination, but failed to reach the finish line ("The Best Years of Our Lives" was named the year's best). Few films of the era were as "prestigious" as this one from Maugham's acclaimed philosophical novel, but its "importance" seems forced.
The studio's number one glamour boy, Tyrone Power, plays Larry Darrell, a man so disillusioned by his experiences in World War I that he now rejects society, as well as the love of his socialite fiancee (Gene Tierney), in favor of loafing in Paris and investigating spirituality in India.
It's an unlikely theme for a glossy studio film, but as noted earlier, Zanuck wanted that Oscar, the kind of worldly honor Larry Darrell finds so meaningless. It was Anne Baxter, as a woman who turns to the bottle and whom Darrell attempts to save after her family is killed in an automobile accident, who took home an Oscar. Others in the cast were equally deserving.
Clifton Webb is as wittily acerbic as Tierney's uncle as he was as her employer in "Laura" two years earlier. Webb was one of Hollywood's most uncloseted homosexuals in his day, and the veiled references to homosexuality are among the most intriguing aspects of "The Razor's Edge." Author Maugham was another homosexual who broke free of the closet years before mainstream society had heard of Gay Liberation, and he turns up in the film as narrator and a principal character. Played by Herbert Marshall, Maugham's sexuality is referred to in the kind of subtle manner characteristic of 40's cinema. "I always get the queerest feeling from Mr. Maugham," Tierney says, and when he's questioned about his involvement with a murdered woman, he is easily cleared of any suspicion that he was romantically involved with her. With an arch of an eyebrow, the policeman tells Maugham that, from all he has heard about the writer, it's obvious she was "not his type" (nudge, nudge).
For all its pretensions, "The Razor's Edge" is still a good show. All that gloss would normally make me retch, as would all that highbrow philosophy, but together they make an interesting combination.
Brian W. Fairbanks