Edge of Love, The Review

"The Edge Of Love" reviews

Movie

The Edge Of Love

Author

anonymous

Date reviewed

2008-06-13 16:40:15

Provider

MRIB

Review

Knightley and Miller compete for the attentions and affections of the poet Dylan Thomas in a tale of relationships struggling with wartime heroism and love.

Vera (Knightley) was a close childhood friend of Thomas. As adults they meet again in wartime London and their flame burns brightly once more. Vera's a singer and Thomas is frustrated at having to write propaganda scripts to make money when he really wants to concentrate on his own work. The arrival of his tempestuous wife, Caitlin from their Wales home, is relief for him, but a shock to Vera, previously unaware of his wife and child. These two strong females could be competitors, yet instead become close and firm friends. Vera respectfully concedes to Caitlin and marries her persistent admirer and soldier, William Killick. When he's posted abroad, Thomas' and Vera, now with William's baby, decamp to Wales. Here the intensity of this intense triangular love affair piques and William's return is the catalyst for self-truths and change in all their relationships.

Sharman Macdonald's screenplay shares a strong affinity with The Winter Guest, her play and last film. It starred Emma Thompson and Vanessa Redgrave and also explored female relationships. Both that and Edge of Love are powerful studies, with depth and emotion well portrayed. Here Knightley is the lighter, more approachable Vera. Her compromising character is delivered with almost expected aplomb by the actress. Originally expected to play Caitlin, she elected to play Vera, much to the chagrin of her Mother (and the screenwriter!) Macdonald who had written the part for her. So, Sienna Miller is given the far more demanding task of bringing Thomas's troubled wife to life. And she does so superbly. The complicated conflicts this feisty woman battles with internally demand extreme close up after extreme close up - where an actor must temper their performance - subtlety becomes the byword for believability. Impressively Miller is completely in control here. She dominates and entrances you so much, echoes of peak career Katherine Hepburn come to mind. The two lead actresses have a vibrant and tactile chemistry. They make the subdued and thoughtful story and direction breathe with an intensity many would have struggled to achieve.

By contrast the male protagonists are comparatively calm and evidently happy to remain in the shadows for the most part. Murphy is little more than a cameo but his Killick is critical. Normally upstanding and correct, his severe experience of war and it's effects are all the more stunning. As for Rhys as Dylan Thomas, his naturally funny performance is almost the stuff of classic music hall and a perfect accelerator to unfolding events. It's ironic that such a broad, ebullient and iconic character like Thomas, ultimately the central character of the story, ends up as the foil to the fantastic female leads. It's also to the film's benefit.

This a film that will withstand repeat viewing and remain fresh and absorbing modern cinema. It also manages to recall the times of classic high drama on film.

Copyright © MRIB 2008.