MisterWhiplash In the book 'Cassavetes on Cassavetes' (or as close to an autobiography we have of him, which is an interview with film professor Ray Carney), Cassavetes mentions that before Faces the only two films he had anything to do with that he was proud of were Shadows- which, naturally, was his first feature and one of the few cinematic examples of something like jazz (true improv)- and this film, Edge of the City.Maybe it was due to the subject matter, being about something simple (two guys from different backgrounds working as longshoreman who become friends just based on getting along and mutual trust and respect) with the more 'topical' stuff (racism, class) being secondary. Or it was because it's a film much like On the Waterfront that gives its characters room to have realism unlike melodramas of the past? Or it's just cause he's that damn good in the film, and knew it while making it.A scene early on with Axel North (real name Axel Nordman), who seems adrift in the night in New York City and calls up his parents who are in Indiana (though we don't know what at the time), seems to indicate what Cassavetes might have found in the project so worthwhile. Here he gets to behave moreso than traditionally "act", which is like being himself.In this scene with the phone call he covers the phone receiver and speaks, but no one on the other end can hear him, and it's a very sad and tense exchange of words as the son can hear but the parents cannot. It's a scene like this that shows Cassavetes in a sensitive moment, vulnerable, which helps a great deal once he's set against the man he works for, the brutish and unsubtle racist Charles (Jack Warden). Luckily at the job he meets an upstanding guy, Tommy, played by Sidney Poitier, and the two become close friends almost by chance (Tommy trying to get closer and closer to the sorta sky Axel).Seeing these two actors together, and how well they're able to work with the natural dialog by Robert Alan Arthur that allows them to speak more like regular people from the period than like movie characters, is what really makes this movie. Some of the story gets a little far-fetched in the third act (how simply a key character is laid to waste in a fight), but director Martin Ritt never loses sight of how Poitier and Cassavetes behave around each other.One is more reserved (and for good reason, being a war deserter and with a bad secret from his past with his younger brother, "the only person I ever loved"), and one more outgoing in his friendliness (Tommy being a guy who likes to hang out, talk, romance with the ladies). And for the time period it set an example that other films needed to try and steer towards: not being overtly anti-racism, though the film has some of that, but just showing clearly how people can get along, as people. Poitier would a year later try a little more for this in The Defiant Ones.Watching Cassavetes is also a key to the film's success; when he tells Poitier the story about his brother, suddenly the film slows down from the pace it has when Tommy is in charge of the conversation as a warmhearted (if sometimes pushy) kind of guy. It's a story that allows Cassavetes room as an actor, the kind which would probably influence him with his own actors. Also another scene that displays how generous he could be and how spot-on (or just effortless) his timing was is when he talks with the girl Tommy tries to set Axel up with, played by Kathleen Maguire. He seems so out of the loop of it, but as a genuine and nice guy he's able to connect with her. As an actor he also lets us know how messed up Axel really is, sometimes without having to say anything - just a look would do, though Tommy sometimes asks for more. And in the last act, it gets to a point that has some of the finest work Cassavetes ever did.Ritt understands how this world works, how people can either get along together, or not as the case with Jack Warden. He seems to be such a SOB, kind of like Lee J. Cobb in Waterfront only less of a higher-up kind of guy. Even he as a cartoonish villain comes off genuine in how he reacts to things. It says a lot when a director can get a one 1/2 dimensional character to seem convincing. Edge of the City has that, as a kind of character-driven noir film.

blanche-2 1957's Edge of the City, directed by Martin Ritt, stars John Cassavetes, Sidney Poitier, Jack Warden and Ruby Dee. It's the story of a troubled man, Axel, who has a mysterious past that gradually comes out during the film. He has a connection that gets him a job on a loading dock working for Charlie (Jack Warden), a real meanie who takes kickbacks from his workers and rides them hard. Charlie has an intense dislike for a black man, T.T. (Poitier) who holds the same position. T.T. invites Axel to work on his team; Axel defies Charlie and does so. Axel finds a place to live and socializes with T.T., his his wife (Dee) and their son's white schoolteacher (Kathleen McGuire). When tragedy strikes, none of the men on the loading dock will talk to the police, and Axel has to come to grips with his values, what he stands for, and the meaning of friendship.This is a really excellent black and white film that curiously isn't really about being black or white! It's really about the limits one puts on oneself and knowing who you are. Charlie is a bigot and hates that a black man has a good position on the dock. T.T. teases Charlie and gives as good as he gets. There's no discussion of T.T. and Axel spending time together or of T.T.'s son having a white teacher with whom the family also socializes. What Axel, a loner, finds difficult is accepting any friendship or confiding in anyone - these things he learns through T.T.Poitier absolutely shines in "Edge of the City" - he's warm, energetic, loving and smart, a man with a real enthusiasm for life, afraid of nothing. Cassavetes is excellent and plays a character totally opposite - hiding in the shadows, chronically depressed and always nervous.The film leaves open what happens to Axel. Whatever does, he's a different man now.Strangely underrated and unknown film, possibly in the shadow of a lot of the angry young men films that came out in that era.

grasshopper54 I cry at a lot of movies. Call me sentimental. Call me one of those viewers who always likes to see a happy ending. This movie, though it has a sad ending, was great! Of all of the actors that I would love to have lunch with, it would be Sidney Poitier. His acting, along with John Cassavetes and Jack Warden (of 12 Angry Men fame)is stellar. His character, who befriends a man on the run (Cassavetes) and helps him out in every way possible is incredible.This is another one of those forgotten noirs made during the end of the noirish era. It is well done, has a superb cast, extremely talented acting, and great cinematography. It is a film worth watching over and over again. I highly recommend this one! This is just another truly great film done by Mr. Poitier and should be sold on DVD. Even though I cried, kudos to such great art!

tsmash Maybe this wowed them in the 50's, but this is one of those flicks that doesn't age well. It's got that preachy, earnest, downtrodden working man vibe of a 2nd rate Rod Serling live TV "Playhouse" broadcast. The "plot" is by the book, the Cassevetes character's troubled background seems tacked-on, and the love interest is unconvincing and half-hearted.Sidney Portier gives an OK performance, but man he sure was an annoying, haughty snot. If I had to work with this guy in a warehouse I'd probably want to hit him with a grappling hook too. Jack Warden is good, because as usual, he plays Jack Warden.Like 90% of the films rated on IMDb (whether they are classics, mediocre or crapola) somehow this one gets rated with 7-point-some-stars. It is in no way deserving of that. Save your time