The Razor's ed ge has everything for virtually every type of film fan. Fundamentally it's all good cinematurgy. It's a moving picture that moves.
The Razor’s ed ge has everything for virtually every type of film fan. Fundamentally it’s all good cinematurgy. It’s a moving picture that moves.
The romance is more than slightly on the sizzling side. Tyrone Power, as the flyer who can’t find himself, is always seeking goodness and spurns the easy life offered him by the more than casually appealing Gene Tierney. It reaches a climax after they play the Paris nitery belt from Montmartre to Montparnasse, and when back in Chicago she loses sight of him and marries John Payne there is the unashamed confession of a lasting love which Power spurns.
For all its pseudo-ritualistic aura the film is fundamentally a solid love story. Tierney is the almost irresistibly appealing femme and completely depicts all the beauty and charm endowed her by Maugham’s characterization. Anne Baxter walks off with perhaps the film’s personal bit as the dipso, rivaled only by Clifton Webb’s effete characterization as the dilettante rich uncle.
Herbert Marshall introduces a new cinematic technique – as it was in the original novel – of playing the author W. Somerset Maugham who thus integrates himself into the story by name identity instead of the conventional first-person (but invariably fictitiously identified) characterization.
1946: Best Supp. Actress (Anne Baxter).
Nominations: Best Picture, Supp. Actor (Clifton Webb), B&W Art Direction