The picture that winds up Gary Cooper's long list of credits is a neatly constructed, thoroughly professional little suspense meller.

The picture that winds up Gary Cooper’s long list of credits is a neatly constructed, thoroughly professional little suspense meller.

Based on Max Ehrlich’s novel, First Train to Babylon, Joseph Stefano’s screenplay casts Cooper as an American businessman living in London who, coincidentally to the murder of his business partner (and the disappearance of a couple of hundred thousand dollars), happens to make a killing on the stock-market, which funds he uses to make an even bigger fortune.

When, five years later, a blackmailer in the form of Eric Portman turns up to accuse her husband of the murder, Deborah Kerr remembers that Cooper, after all, had been the key prosecution witness at the murder trial and had come into a lot of money quite suddenly. The lady’s further investigations confirm her suspicions.

Kerr suffers very prettily in a highly emotional role. Cooper, perhaps because he must appear to be enigmatic most of the time, gives a less successful performance. The picture, filmed entirely in London, utilizes some fine British supporting people.

The Naked Edge

Production

United Artists/Pennebaker-Baroda. Director Michael Anderson; Producer Walter Seltzer, George Glass; Screenplay Joseph Stefano; Camera Erwin Hillier; Editor Gordon Pilkington; Music William Alwyn; Art Director Carmen Dillon

Crew

(B&W) Extract of a review from 1961. Running time: 99 MIN.

With

Gary Cooper Deborah Kerr Eric Portman Diane Cilento Hermione Gingold Peter Cushing
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