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The Edge of Love Film Review
Orange
16 June 2008
By Rob Carnevale
Editor's Review
4 out of 5 stars
Sexual jealousy and obsessive love provide a tempestuous backdrop for this World War II true-life drama that features another impressive role for Keira Knightley and a first-rate British cast.
What's the story?
Welsh poet Dylan Thomas (Matthew Rhys) reunites with childhood sweetheart Vera (Keira Knightley) in World War II London and begins a flirtatious relationship, attempting to juggle his feelings for Vera with those for his wife, Caitlin (Sienna Miller). Caught in the middle of this trio is Vera's devoted admirer, Cpt William Killick (Cillian Murphy), whose subsequent experiences on the front line yield serious consequences for all concerned.
What we say
In many ways John Maybury's The Edge of Love has a lot in common with Joe Wright's Atonement, in addition to the star presence of leading lady Keira Knightley. Both films offer visually sumptuous tales of unrequited love during World War II, and both feature flawed but involving characters. Knightley even gets to utter the line "come back to me" in both films.
Where Wright's near-masterpiece was based on a popular novel by Ian McEwan, however, Maybury's no less stylish tale was inspired by the film's producer Rebekah Gilberton's decision to explore her own grandparents' relationship with Welsh poet, Dylan Thomas.
Hence, the film examines the tug of love that occurred between Thomas and the two women in his life: childhood sweetheart Vera and his adventurous wife Caitlin, as well as the other man caught in between—Cpt William Killick.
Maybury's film is largely a deeply impressive affair that embroils viewers in its complex story of sexual jealousy and obsessive love.
It also boasts some strong performances, with Knightley arguably better in this than Atonement, complete with flawless Welsh accent and a pretty decent singing voice.
Her relationship with Miller's Caitlin, which becomes integral to the middle section of the film, is a wonderfully absorbing paradox that enables both actresses to thrive in each other's company (even though Miller's accent is the one real flaw).
Strong, too, are Cillian Murphy's brooding soldier—who nails both the romantic heroism of his pre-war courtship and the battle-weary disillusionment of his post-war veteran with effortless aplomb—and Rhys' self-absorbed poet, whose mischievous philandering and flirting spells dark consequences late on.
Maybury's direction, meanwhile, is extremely stylish, especially in his use of camera angles and the way he captures the period detail.
There are some criticisms, of course. Viewers may have trouble understanding why Thomas was able to hold two such fiercely independent and intelligent women in his thrall, while many are sure to feel that Murphy is allowed to disappear for too long once abroad (there are only cursory shots of him fighting).
A better balance might have come from juxtaposing Killick's ordeal with the ignorant revelry of Thomas and company.
But on the whole this is a fine British movie that expertly conveys an impressive sense of mood, time and place, while reaping the rewards of its first-rate cast.
