Terry and Gene at the BFI… The Razor's Edge (1946)

Terence Stamp took off his shoes as he sat down to be interviewed about his choice of film for the BFI Screen Epiphanies series, “how many of you bastards have already seen the film?” he asked in a perfectly reasonable tone.

Not many of us had and, in fairness, not many of us would have if it hadn’t been on his recommendation.

Terence Stamp

Mr Stamp was compelling company as he talked through his early film experience from seeing Gary Cooper in Beau Guest to East of Eden. He was refreshingly frank about the impact The Razor’s Edge had on him with vivid memories of his first three viewings: too confused as a child to even frame questions for the uncle who took him, wanting to be Tyrone Power and just wanting Gene Tierney as a teen and then starting his appreciation of the acting talent, especially the mellifluous tones of Herbert Marshall, in his early years at stage school.

He has always maintained a connection with this film over his career and the searching, spiritual core of the story reflects his own journey, particularly after 1969 when, as he says, the business “gave up” on him and the “Cockney spiv” from Plaistow came back stronger and deeper almost a decade later.

He could have talked all night for most of the audience, but before the subject of the conversation could be over-looked (and the Donner cut of Superman 2 delayed…) we had to roll the film.

Get it?

The Razor’s Edge didn’t disappoint. Based on Somerset Maugham’s 1944 novel, it felt like a precursor of the more novelistic style of fifties film, drawing some fine performances from its cast and examining the possibilities of  a life founded on spiritual rather than monetarist value.  Maugham wasn’t the first to look to Indian philosophy – and Stamp isn’t sure he quite “got it” – but he was certainly ahead of the long curve from Kerouac to Harrison.

So was film rather more about nuanced emotion than the linear narrative I’d (lazily as always) expected… it’s not “deliberate” or specific and leaves a lot of room for interpretation by audience and performers alike.

Gene Tierney

Into this zone of uncertainty, slinks Gene Tierney in most emphatic fashion as socialite Isabel Bradley. Hers is a striking performance not merely for the glamour that so entranced young Terence but also for her intensity. Stamp highlighted a moment when arriving at the top of a flight of stairs in her evening gown finery she fixes Larry (Tyrone Power) with a look so full of un-ambiguous intent you know he’s lost if she wants him to be.

Then there’s the moment when Isabel turns and reveals the precise nature of her life and love to Somerset Maugham (Marshall): she has married a man she likes but she’ll only ever love Larry. Such directness is possibly symptomatic of a post war film – life had to lived quickly and to the point – but Tierney slaps you right in the face with it: a more delicate Joan Crawford, but every bit as fierce. She will do what she must even at a cost and as her life goes on she loses her way more to pragmatism.

Fritz Kortner and Tyrone Power

Tyrone Power is also striking as Larry Darrell, a man traumatised by the sacrifice of a comrade in the dying moments of the Great War. He feels like he’s walking in another man’s shoes… a man who simply gave up his own existence so that his pal could carry on. Power carries the towering guilt within and only gives glimpses of the grief that drives him on to find a path worthy of this second chance.

He turns down the chance to join friends as a stock-broker and instead aims to “loaf” until he has found himself. At first Isabelle indulges him, prepared to wait for this process to pass but, finding him in Paris a year later he is still only beginning his journey and material concerns make her break off their engagement.

The great Clifton Webb

Larry goes off to work in a French mine where a fellow worker, Kosti (Fritz Kortner - Lulu’s sugar daddy in Pandora’s Box) tells him of his experiences in India – he didn’t gain enlightenment but grew in self-reliance in his struggle to evade God’s grace.

This is an interesting aspect of the film;  it’s spiritual but it doesn’t seem to be to be aligned to any specific religion just the need to find grace and “goodness”.

As Larry heads off to find a guru, things begin to turn dark at home as his childhood friend, Sophie MacDonald (Anne Baxter) loses both husband and child in a car crash. This begins a downward spiral that sees her addicted to most known vices – Baxter acts her socks off and you can understand how she won the best supporting Oscar.

Anne Baxter acts her way to an Oscar

All of the characters seem lost, even Isabelle’s wealthy uncle Elliott Templeton (the great Clifton Webb) who is a likeable snob finding validation in his position in society, even adopting noble English airs to distance himself still further.

Through this all drifts the author, gently involving himself as part of the plot but only once revealing his feelings as he tells Isabelle how much he appreciates her beauty. He seems wise but then “writers” always have the benefit of hindsight, a smart performance from Herbert Marshall.

Herbert Marshall appraises Gene Tierney

Fortunes turn and all parties end up in Paris after Isabelle’s husband Gray (John Payne) loses all in the stock market crash and they end up lodging with Uncle Elliott.

Larry returns and uses his new-found spiritual awareness to help cure Gray of his post-crash depression. He tries to save Sophie from her death-dive into destitution and it is here that Isabelle’s morality is put to the test…

It's a journey...

The Razor’s Edge is a fascinating film that doesn’t preach or make obvious judgements. Nor does it conform to narrative expectations…well, not mine anyway. I can see why Terence Stamp continues to want his friends to watch it and why he sat through the whole film again with us before beating a hasty retreat as the end credits rolled…

The BFI had secured an excellent print which was a joy to view on the big screen. DVDs are available in all the old familiar places...

Mob mortality… The Hit (1984)

Michael Caine once said to Bob Hoskins that there’d only been three decent British gangster films and they’d been in all three: Get Carter, The Long Good Friday and Mona Lisa. To that list I’d certainly add Stephen Frears’ metaphysical The Hit staring Caine's old mucker Terry Stamp.

To some of us locals, British crime films can be either too violent or just too American: we don’t have the guns and style of the Yanks, so why pretend otherwise? Brit-crime should be determinedly un-stylish and not directed by Guy Richie…

The Hit left a mark when I first saw it in the cinema by avoiding the enduring cliché of the genre. Yes there was violence and a dramatic situation but the film was more philosophical than psychotic.

Braddock considers his options

It touches on the deepest and most everyday fears of all, that of our own mortality and the time when death turns from distant possibility to rapidly approaching certainty (we kid ourselves otherwise…). To this end, the situation is almost secondary… all of the characters are living in mortal fear,  but just a little more focused than normal.

Staring a rejuvenated Terence Stamp as super-grass Willie Parker, the story follows his betrayal of his gang-mates in the early 70s. He’d sold them out because he couldn’t face going back inside, a prosaic and self-interested decision which certainly doesn’t make him look like the hero in the courtroom where his former gang mates send him off with a chorus of We’ll Meet Again.

Willie, the Boys and a be-wigged Jim Broadbent

We re-join Willie a decade later living a life of nervy solitude, hiding away in southern Spain with a constant bodyguard courtesy of the local police. Willie has found a new erudition with his apartment artfully decorated and the walls lined with books on philosophy and art.

But as he returns home ahead of his guard Willie is kidnapped by a group of local youths. They drag him off to remote exchange with two men: hit man Mr Braddock (John Hurt) and his apprentice, Myron (an impossibly young Tim Roth).  The Brits booby-trap the gang’s payment but leave one alive… the first of a string of crucial mistakes.

Soon after the police, led by a senior officer played by the great Fernando Rey, are seen interviewing the survivor – the pursuit is on.

Terry and Johnny

Willie overcomes his initial shock and appears supernaturally calm with his new captors… This is especially disconcerting for Myron: he only expects fear.  Willie continues an open commentary on his situation as if he’s almost on the same side as the assassins and he succeeds in unnerving even the experienced and intelligent Braddock. They are to smuggle him to Paris where he is to meet the gang’s leader (70’s pop singer Lenny Peters in a forceful yet wordless cameo) before the end: this is revenge served cold.

Willie overhears a news report detailing his abduction and Braddock is persuaded to change car in a Madrid safe house. But on arriving at the flat they find one of their paymaster’s associates Harry (Bill Hunter, vulnerably venal) holed up with a young lady friend Maggie (Laura del Sol).

John Hurt, Bill Hunter, Tim Roth and Terence Stamp

Harry’s heard too much – Willie makes certain of that - but Braddock gives him a chance by taking Maggie as insurance. As they’re about to leave Willie puts a seed of doubt in his mind and Braddock returns to find Harry phoning the police… the reward was too big a temptation.

The pace shifts as Maggie starts to have her own impact on the group dynamic. She has a fierceness and desperate need to live which contrasts with Willie’s studied acceptance: he is ready but she most definitely is not.

Laura del Sol and John Hurt

Willie continues to amaze Myron with his sang froid and skilfully drives a wedge between the young man and Braddock. At the same time Myron can’t help but let his attraction for the Spanish firebrand over-rule calculating self preservation. Braddock seemingly has no such conflict but his suppressed desire is evidenced in a number of physical confrontations with the girl.

One such battle takes place when he takes Maggie to get some petrol… she bites a clump of skin off his hand but he holds back from killing her: “you’re a very lucky girl” he later says, heart over-ruling head.

On their return he finds Myron asleep and Willie, rather than escaping is just over the hill staring in wonder at a waterfall. Braddock and Willie have their most direct exchange in the whole film Willie playing down the fear of death: “ …it’s as natural as breathing”.

They approach the border with the police close behind… the final act is played out with stunning unpredictability. 

This was Stamp’s first starring role in some time and he is superb, covering the shift from self conscious betrayal to Zen calm when life catches up with him. He’s always been great at conveying uncertain meanings in his look and here he masterfully misdirects our feelings at least some of the time…

Terence Stamp

He’s matched by John Hurt who plays against type carrying an air of martial competency you wouldn’t expect, with utter conviction. I was reminded of Ben Kinsgley in that other decent Brit crime caper Sexy Beast… also produced by Jeremy Thomas The Hit’s producer.

With these two at the centre both Laura del Sol and Tim Roth excel. Del Sol’s no-holds barred ferocity acts as the counter-point to Stamp’s fatalism whilst Roth kicks off his distinguished film career in fine style as the trainee psychopath. He’s the only one who doesn’t sense the proximity of his own death…

John Hurt

The Hit is not a film you can just walk away from and each viewing  always reveals new shades of meaning. Very few British films matched Frear’s output in the 80s and he perhaps doesn’t always get the credit he deserves for bringing a uniquely British sensibility to thrillers, from Gumshoe to The Hit and onto Dirty Pretty Things. His next film was to be My Beautiful Laundrette.

The Hit is widely available but the one to go for is the Criterion Edition which comes complete with the usual trimmings - a commentary from Frears, Roth and Hurt, an 1988 interview with Stamp on Parkinson and a lengthy essay from Graham Fuller.