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| Director: Edmund Goulding
Actors: Tyrone Power, Gene Tierney, John Payne, Anne Baxter, Clifton Webb
Studio: 20th Century Fox
List Price: $19.98
Buy Used: $2.29
You Save: $17.69 (89%)
New (3) Used (18) Collectible (4) from $2.29
Rating:  64 reviews
Sales Rank: 1760
Format: Black & White, Color, Ntsc
Languages: English (Original Language), French (Original Language)
Rating: NR (Not Rated)
Media: VHS Tape
Number Of Items: 1
Running Time: 145 Minutes
Shipping Weight (lbs): 0.5
Dimensions (in): 7.4 x 3.8 x 1.1
ISBN: 6303333079
UPC: 086162104930
EAN: 9786303333076
ASIN: 6303333079
Theatrical Release Date: December 1946
Release Date: March 13, 1995
Availability: Usually ships in 1-2 business days
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| Customer Reviews:
Showing reviews 11-15 of 64
 THE RAZOR'S EDGE January 10, 2004
9 out of 10 found this review helpful
FORGET THAT THIS MOVIE IS 58 YEARS OLD! THAT IS MORE THAN HALF A CENTURY! IMMERSE YOURSELF IN THE MESSAGE,THE STORY CENTENT, THE CINEMATOGRAPHY,THE CLOSEUPS,THE LIGHTING,THOSE INCREDIBLY BEAUTIFUL EYES OF GENE TIERNEY AND THE ENDLESS LIFE SEARCHING OF TYRONE POWER'S CHARACTER.THIS MOVIE WILL SNAGE THOSE WHO HAVE BEEN IN IMPOSSIBLE LOVE AFFAIRS AND THOSE THAT HAVE KNOWN TRAGEDY. THOSE THAT HAVE EVER HAD A DEEP THOUGHT ABOUT THE MEANING OF LIFE OR THEIR PLACE IN THE WORLD WILL HAVE A SPECIAL FEELING FOR THIS MOVIE.CRITICISM OF THIS MOVIE BASED ON 2004 STANDARDS OF ACTING, SET DESIGN AND STORY CONTENT IS PETULANT AND INAPPROPRIATE.IF YOU DON'T LIKE THIS MOVIE YOU WILL HAVE CONFIRMED ICEWATER IN YOUR VEINS! PUT YOURSELF IN 1946.IT WILL BE A PLEASANT JOURNEY AWAY FROM THE VULGAR TRASH THAT HOLLYWOOD GRINDS OUT THESE DAYS.
Why isn't this out on DVD? (Skip the Bill Murray version!) August 23, 2004
T. Wade (San Francisco CA)
9 out of 11 found this review helpful
This 1946 version of "The Razor's Edge" is FAR superior to the 1980s Bill Murray version. Nothing against Murray, but we was WRONG in the lead. The original 1946 version was moving. It was acted brilliantly, directed with love, filmed in beautiful shades or grey, and hauntingly scored. Why isn't this out on DVD? Its a real shame that some studios keep some films hostage and won't release them on DVD. The book is literally impossible to film, yet the 1946 version makes a successful effort. Its a very moving, spiritual movie that I would reccomend to anyone. See it!
deep focus February 17, 2006
J. W. Hickey (Manhattan area)
9 out of 10 found this review helpful
I've taught this film in colleges for thirty-plus years. Even back at the earliest screenings, traditional-aged freshmen had trouble with it (a) because it was in b&w, and (b) because the dimensional characters didn't telegraph plot advancement but instead used irony, wit, or assumptions that would later be proven wrong by subsequent events.
The first of these objections stunned me when they couldn't appreciate Gene Tierney descending the stairs to seduce "Larry" in a gown relegated to grays. The second objection (young auduence confusion) just made me sad about the impact of television ... but you already know that story.
As with Hollywood's THE PICTURE OF DORIAN GRAY, released in during the same general period, I personally appreciate the "epic scope" of the narrative, enhanced by remarkable set direction detail. And I appreciate even more the depth-of-focus photography in both of these films, which enriches viewing by sharp images at several planes of action within the frame. It's a story well-told at the visual level.
I've read complaints about Tyrone Power's "dated" acting in this performance, NIGHTMARE ALLEY, etc. But again, I suspect this is from a generation more comfortable with MTV editing than with theatre as an entertainment criterion. Power is given a series of difficult monologues to recite about uncinematic spiritual/ philosophical themes, and he pulls each off brilliantly. As with Olivier's opening scene in RICHARD III, it's interesting to watch how these monologues have been directed to use a pacing movement of the actor within the frame as a "paragraphing" punctuation. The lengthy, uninterrupted takes and consequent fluidity of camera movement within these shots not only enhances the impact of the monologues but also makes sly commentary on characters/ themes as continuous camera includes other characters in medium close-ups.
Herbert Marshall's Maugham is interesting and underplayed almost as masterfully as Cedrick Hardwicke's performance of "goodness personified" in ROPE. The close-ups of "Maugham's" eyes to communicate ironic plot points may seem obtrusive, but they're true to Maugham's voice in the novel.
Further, they emphasize the ill-advised decision to omit this narrator's perspective in Murray's hapless remake. That later film fails in no small part because the female characters are virtually indistinguishable visually, and because the studio (which only made the film to entice Murray to make GHOSTBUSTERS II) invested no interest in producing a good movie script. Pity, since Murray could have done okay.
Two less successful scenes in the 40s version are the "Baby!" hospital melodrama and the ashram Jehovah sequences (not including the remarkably visual spiritual moment in the mountains). But the supporting cast remains superb throughout--especially the bracing comedy of Webb and Lancaster, and the moving subtlety of John Payne and Lucille Watson.
Tierney's richest moments are linked to the plot: "That's all right, Larry. It might be less than a year"; the wedding announcement over the phone; the camera-narrated scene where Isabel "seduces" Larry's fiancee; and, of course, the climax with Larry at the end. And, by the way, she's as gorgeous as Tyrone Power!
How much more value can one expect from an entertainment that succeeds so well with complex, mature themes of spiritual redemption in a society of capitalist myopia?
 Lavish But Remarkably Superficial June 1, 2007
Gary F. Taylor (Biloxi, MS USA)
9 out of 12 found this review helpful
The author of numerous novels, plays, and short stories, W. Somerset Maugham (1874-1965) was considered among the world's great authors during his lifetime, and although his reputation has faded over the years his work continues to command critical respect and a large reading public. Published in 1944, THE RAZOR'S EDGE is the tale of a World War I veteran whose search for spiritual enlightment flies in the face of shallow western values. It was Maugham's last major novel--and it was immensely popular. Given that the novel's conflicts are internalized spiritual and philosophical issues, it was also an extremely odd choice for a film version--but Darryl F. Zannuck of 20th Century Fox fell in love with the book and snapped up the screen rights shortly after publication.
According to film lore, THE RAZOR'S EDGE was to be directed by the legendary George Cukor from a screenplay by Maugham himself--and it does seem that Maugham wrote an adaptation. When the film went into production, however, Cukor was replaced by Edmund Goulding, a director less known for artistic touch than a workman-like manner, and the Maugham script was replaced with one by Lamar Trotti, the author of such memorable screenplays as THE OXBOW INCIDENT. Tyrone Power, recently returned from military service during World War II, was cast as the spiritually conflicted Larry Darrell; Gene Tierney, one of the great beauties of her era, was cast as socialite Isabell Bradley. The supporting cast was particularly notable, including Herbert Marshall, Anne Baxter, Clifton Webb, Lucille Watson, and Elsa Lanchester. Both budget and shooting schedule were lavish, and when the film debuted in 1946 it was greatly admired by public and critics alike.
But time has a way of putting things into perspective. Seen today, THE RAZOR'S EDGE is indeed a beautifully produced film--but that aside the absolute best one can say for it is that it acheives a fairly consistent mediocrity. As in most cases, the major problem is the script. Although it is reasonably close to Maugham's novel in terms of plot, it is noticeably off the mark in terms of character and it completely fails to capture the fundamental issues that drive the story. We are told that Larry is in search of enlightenment; we are told that he receives it; we are told he acts on it--but in spite of the occasional and largely superficial comment we are never really told anything about the spiritual, artistic, philosophical, and intellectual processes behind any of it. We are most particularly never told anything significant about the nature of the enlightenment itself. It has the effect of cutting off the story at its knees.
We are left with the shell of Maugham's plot, which centers on the relationship between Larry and Isabell, a woman Larry loves but leaves due to the growing ideological riff that opens up between them. Tyrone Power and Gene Tierney were more noted for physical beauty than talent, but both could turn in good performances when they received solid directorial and script support. Unfortunately, that does not happen here; they are extremely one-note and Power is greatly miscast to boot. Fortunately, the supporting cast is quite good, with Herbert Marshall, Clifton Webb, and Lucille Watson particularly so; the then-famous performance by Anne Baxter, however, has not worn as well as one would hope.
With a running time of just under two and a half hours, the film also feels unnecessarily long. There is seemingly endless cocktail party-type banter, and indeed the entire India sequence (which reads as faintly hilarious) would have been better cut entirely--an odd situation, for this is the very sequence intended as the crux of the entire film. Regardless of the specific scene, it all just seems to go on and on to no actual point.
As for the DVD itself, the film has not been remastered, but the print is extremely good, and while the bonus package isn't particularly memorable neither is noticeably poor. When all is said and done, I give THE RAZOR'S EDGE three stars for production values and everyone's willingness to take on the material--but frankly, this a film best left Power and Tierney fans, who will enjoy it for the sake of the stars, and those whose ideas about spiritual enlightment are as vague as the film itself.
GFT, Amazon Reviewer
An excellent film from the 1940's October 5, 2003
B. Gordon (San Francisco, CA United States)
8 out of 9 found this review helpful
I heartily recommend this film for fans of the "classic hollywood" genre. Yes, you can find minutia to criticize as with everthing, but really, for a film to capture the "times" of the 1920's and 1930's, this film does a fine job. If anything lacks, it's the budget. I really wish the production had more money and the director could have actually filmed in Paris and in India. You can tell that all of the scenes were essentially shot in Hollywood on staged sets. But I loved the acting from all of the characters. I think Anne Baxter deservedly earned her academy award. She does not overact at all! She does a beautiful job of acting. And Tyrone Powers, while understated, does a fine job. And Tierney is beautiful and emotes every bit of the cunning and ulterior motives throughout this film. I also thought the actor who plays Maughm does a masterfully subtle acting job that makes you think he really is the actual author!! What's so masterful about this film is that it focuses solely on the characters portrayed and you want to find out what happens to Larry. I wish the film could have gone into greater detail about Larry's experience in India. It's a bit too superficial but then, for hollywood, what do you expect?? I also care about Larry and I really wanted to see Ann Baxter's character saved. And the important moral lesson is that you can't save everyone in this universe! And not everyone is bound for "success." It's not in the cards. And that's a very powerful message that seems to be forgotten today. We glorify tragedy but films don't explore what Larry explored. What does it all mean???? American Beauty was a more modern attempt at it, and I liked that film. But The Razor's Edge makes you think about the metaphysical and what your purpose in life is all about. If you are cocky and arrogant, then you will never find wisdom. If you are humble and are filled with questions, you will get closer to enlightenment. Death does make angels of us all and Ann Baxter's character found peace once dead. May seem tragic but
life is not fair nor just. Life is not "what should be" but what is." See this film. It's good for the soul and the mind.
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