It can be a difficult thing walking into a film (or sitting down to it as the case may be) without context. One consistent complaint you may hear about any movie is “we’ve seen this so many times.” Of course, with modern movies, the way you tell the story is so much more important than the details of said story. With precious few exceptions, there simply are not that many new stories. But I have also seen a disturbing trend of using this same criticism regarding older films. There seems to be a strange badge of honor connected to disliking or harshly judging these movies. As always, context matters. It can be difficult, as it takes more work, but as film fans, we must think more deeply than simply an initial take or reaction.
A story that has been told many times is that of the interracial friendship. Sadly, there has been so little progress towards the dismantling of white supremacy that these stories are still popular. In some ways, they are needed, but there is also a tendency to create narratives that only help to assist white liberals feel better about themselves. I would argue that the movie in question here, Edge of the City, does not travel that well worn path. And if context matters, it makes sense to offer some here. At this time in American film, 1957 to be exact, there were certain unwritten rules about race on film. You might see interracial friendships, but Edge of the City makes some different choices.
This is the story of Axel Nordmann (John Cassavetes) who is on the run from his life choices and finds himself as a laborer on the waterfront. There he meets Tommy Tyler (Sidney Poitier) and they have a nearly immediate bond. What makes this friendship different is that the Black man, Tommy, is nearly always in control of the friendship. Importantly, Tommy is Axel’s superior at work. In addition, he seems to be sharper, smarter, and a guiding force in the white man’s life and journey. This was basically unheard of at this point in major American media.
But of course, that does not necessarily make it a good movie. Given the relatively limited frame of Edge of the City, it is imperative that it is perfectly cast. There are a few other important characters, including the incredibly warm and genuine Ruby Dee as Lucy Tyler (Tommy’s wife), the villainous Charlie Malick (Jack Warden), and Kathleen Maguire in a bit of a thankless role as Axel’s love interest Ellen. But really, this is Poitier’s and Cassavetes’ movie. In a noticeable and likely purposeful choice, there are dramatically different performances represented by the two co-stars.
Cassavetes is pure minimalism. Every movement, every syllable contains depth. Axel is stunted, but trying so hard to communicate through his pain. There is a clear gay subtext in Cassavetes’s portrayal and it would be interesting to see how this role would change in a more modern version, with less control and constriction. It would certainly be different, but I am not convinced it would be better. Poitier, on the other hand, is larger than life. From the moment of his introduction, he is big and bold in every presentation. But despite that, Tommy is never played for laughs. He is a real man, with actual problems, as well as a rich interior life even before Axel ends up in his life. We can imagine the simple, joyful life he shares with Lucy. However, he immediately lights up around Axel and feels the need to care for him, to guide him. And again, given the race of these two men, this is revolutionary writing. Writing that only works because of these two acting titans sharing the screen.
Sadly, this is not a film that solely focuses on these two men spending time with one another. Frankly, given its short runtime, director Martin Ritt could have taken a bit more time with them. But in defense of the film, the story’s difficult, brutal ending is essentially set up in the first few scenes. This physical altercation is certainly not the high point of the filmmaking. Ritt seems unsure of the choreographed moments necessary to cause greater impact. The fact that it still works overall is again a testament to the performances, particularly the raw emotion and terror from Poitier. Now, given his known history, this will not come as a surprise to us. But again, context. This was Poitier’s first co-star billing, so he was not the name that he would become over the next few decades. And perhaps more importantly, his emotion in this scene also allows for Cassavetes’ best moment. It is rare, even now, to see two men hold one another, regardless of context. Both actor’s commitment to the friendship on display allows us to view this intimate moment in its purest form.
So yes, you have seen this story before. But that does not mean that Edge of the City is not worth your time. This is not Green Book. Despite the ending, Edge of the City does manage to avoid the pitfalls of these types of movies. There is a purity in this friendship that helps angle the film away from the cheesiness inherent to stereotypical race relations movies. There is no desire to fix a societal ill. Instead, the laser focus on friendship and honor leaves us feeling both saddened and hopeful. Edge of the City is by no means perfect but manages a lovely character study without denigrating itself with pompous moralizing or forced sentimentality.
Come back next month for more movies to watch before they leave the Criterion Channel!
