User reviews

It was very strange watching a film that was shot on an Island that I can see out of my living room window (on clear days).

The film touched on many issues that affected people of the Shetlands around that time, but you should glad hearted, because in REAL life the people of Foula (the REAL Island) still managed to survive, there are approx 30 people living on Foula (Pronouced "Fulla") at this time, and they now have (as from the end of 2004), for the first time 24 hour electricity! (previously only 15 hours a days worth).

Of course, none of the main characters are from Shetland, because they sound Scottish. (The Shetland accent is a mix of Scots and Norwegian Dialect), but the film does its best.. and people who lived in Shetland NEVER spoke Scottish Gaelic.. ever.. tho they did speak Danish before the 17th Century...

This film is available in the Shetland Libraries, and it is watched with much mirth by us... watch and enjoy!

This early effort by director Michael Powell is simply a stunning visual treat. Shot on location on one of the British isles,the visuals are both dramatic and beautiful.What amazed me was how different this movie was from others I've seen from the same period.It seemed so modern in the way of storytelling. The basic story of the film is quite predictable but the actors commitment heightens the drama's impact. John Laurie is the standout in the cast.But what lingers is the powerful depiction of the harsh life on these isles,constantly battling nature's forces.This movie is a cherished record of a way of life that now has almost completely disappeared. To fans of Michael Powell this is a must-see, and I recommend this amazing film to everybody.

After six years slumming it in the so-called "quota quickies" (cheap films made to satisfy a domestic produce law), this was Michael Powell's first personal and independent production. It is the beginning of his love affair with the Scottish isles, his partnership with a number of distinguished actors and crew members, and demonstrates the rhythmic style that would become his trademark.

The first thing that stands out about Edge of the World is its documentary feel. The story itself is a fairly brief tale, but Powell bulks out the runtime by showing off the natural beauty and detailing the vanishing ways of life. It's not something Powell would do a lot in his later career, but it shows his reverence for the subject matter, and also an unbridled state of his purely visual form of storytelling. This is as far as I know the only one of his films for which Powell took sole screen writing credit. Film as a purely visual narrative was his aesthetic, and you could probably fit all the dialogue on about half a dozen pages of script. While the imagery is consistently strong, Powell would generally make better films when his personality was balanced out by the powerful screenplays of Emeric Pressburger.

However, thanks to the lack of dialogue we really get a taste of Powell's sensitivity to rhythm. The steady flow of images that set each scene is reminiscent of early DeMille, which occasionally give way to snappier, almost Hitchcockian editing patterns for the tenser moments. Of course an honourable mention must go to editor Derek Twist for collating all the images for maximum effect. Two scenes are directed with incredible tenderness by Powell. First is the funeral, shot through a mist like effect which enhances the sombre tone. The second is the moment where John Laurie finds out his daughter is pregnant. Tension is built up only to be released with a surprisingly humane response from Laurie. There are still one or two touches of clumsiness, where the angling of shots makes it a bit confusing who is where – for example when Eric Berry and Belle Chrystall watch Niall MacGinnis wandering dangerously near the cliff edge. This could be down to inexperience, or it could simply be due to the on-the-fly nature of the production. After all, how do you view your rushes when your stuck on a little island? Whatever the case, such problems would not recur in Powell's work.

The only real sour note in Edge of the World is, unfortunately, the acting. While Finlay Currie gives his usual steadiness to the proceedings, and of course John Laurie is of course good whenever you need a slightly exaggerated, wild-eyed Scot (although this is in fact one of his deepest performances), the general standard is poor. No-one else really stands out, and surprisingly the young Niall MacGinnis is absolutely appalling. With his inability to master the accent and, it would appear, the general concept of acting, he here looks as if he just walked off the set of Brigadoon.

Overall though this is a gripping and haunting work. It may occasionally be a little rough around the edges, and is often a bit too showy, but you can see in this little film that this is the man who would one day turn opera into cinematic spectacle. This is essential viewing for all fans of Michael Powell.

Odd little film directed by Michael Powell long before his huge success once teamed with Emeric Pressburger.

Subtitled "the death of an island," the film chronicles the dreary lives of island folk as seen in flashback by the former residents years after. Victims of the changing world, commercialized fishing, and isolation, the islanders finally pack it in and move to the mainland after the death of one young man and a near miss with a baby.

Set in an era before electricity and telephones the film shows just how isolated the people are on the various islands north of Scotland. Independent and stubborn, they cling to their rock even though they know the end is coming.

The story is slim: the young people are in crisis of whether to stay and keep the island going or go to the mainland and get good-paying jobs. The story shows us their lives on the island of Hirta (which means death) and the draw of the cities.

Almost shot in documentary form, Powell constantly shows us the majestic beauty of the sparse rock of island versus the drab lives of the people. Their lives are built around church, social interaction, and trying to keep going.

The acting is minimal with a few familiar faces. John Laurie is the hard father who sees his son (Eric Berry) die in a stupid accident while climbing the face of sea rock. Belle Chrystall is Ruth and Niall MacGinnes is Robbie. Finlay Currie co-stars.

The island scenery is just gorgeous and Powell has a good eye for the incredible backdrops of sea and rock and waving grasses.

This British drama from writer-director Michael Powell features a story that charts the sad last days of the residents on Hirta, a small, isolated Scottish island. As more and more of the younger generations move away, the remaining residents are finding life, which was already a struggle, to be untenable. Young adults Andrew (Niall MacGinnis), Robbie (Eric Berry), and Robbie's sister Ruth (Belle Chrystall) all dream of moving to the mainland, and while Andrew's father James (Finlay Currie) can see the inevitability of it, Robbie and Ruth's proud father Peter (John Laurie) is determined to maintain life on Hirta as usual. Also featuring Michael Powell as the Yachtsman.

This was the first major feature film for director Powell, and he's already showing skill at composing imagery. The location cinematography is bleak yet beautiful, and the film's editing ratchets up several scenes of suspense. The film's one weakness lies in its performances. Currie and Laurie are both excellent, but MacGinnis is a bit green, and many of the supporting and bit players are obviously non-professionals. Still, this is a terrific debut from one of Great Britain's greatest filmmakers.

Michael Powell, the distinguished English director, was a man of vision. He takes us on a voyage to a remote place in order to set his drama about what the inhabitants of the mythical Hirta, in the Hebrides, were going through. The film was actually filmed in Fulla, in the Shetland Islands, which resembles its model. The original island of St. Kilda had been deemed the last place on earth as the Romans sailed the area and since the island resembles a wall rising from the sea, it must have appeared that way to those explorers. Mr. Powell was lucky in working with the producer Joe Rock, whose generosity made this early film worth discovering.

The film opens with a shot of the island from the sea. We see the island rise from the water, as the Romans might have seen it. Little has changed in the place, except now it's deserted. The people of the island have long gone over the mainland because it was hard for them to make a living in that barren and inhospitable place. The island is now a bird sanctuary. The yacht is commandeered by Andrew Gray, who has left the place and now his memories of that turbulent past come back to him.

We go back in a flashback to know what happened in the island some time ago. We see the Manson family as they prepare for church. Peter, the patriarch, has two children, Ruth and Robbie. Andrew Gray is in love with the beautiful Ruth. Later in a competition to get to the top of the highest spot in the island Robbie suffers a tragic accident. Andrew decides to leave for the main land with his father's blessings, but Ruth is left with child, not knowing how to contact Andrew. When the whole population decides to leave, Peter Manson, reluctantly agrees, but tragedy intervenes when a terrible accident occurs.

The acting is magnificent. John Laurie is seen as Peter Manson, the man whose love for the land is his passion. Belle Chrystall plays Ruth the gorgeous island girl in love with Andrew. Eric Berry and Niall MacGinnis are Robbie and Andrew and Finlay Currie makes James Gray come alive.

"The Edge of the World" shows a Michael Powell in great form. Mr. Powell must have taken a tremendous chance by even filming in that remote place, but he is rewarded by a timeless film that will live forever.

An interesting film and well worth seeing for those interested in Scottish theme films. The comparison with Man of Aran is valid, in that it depicts an isolated island community struggling to eke out an existence.

What was missing for me was even a hint at the language these island people of "Hirta" would have spoken, Scottish Gaelic. The church scene with its psalm singing was executed better than in "The Little Minister", but still without making an effort to portray the real thing. The singing was in English, using a Lowland style and the precentor did not chant the line, but read it! They had clearly not visited any Highland churches before preparing the scene.

The documentary film, appended to this, "Return to the Edge of the World" was wonderful and I found it equally enjoyable.

If I had to name one of my favourite film directors, a few always come to mind, and they always include Michael Powell. He has made some of the (for me) most fascinating, thrilling, strange, intriguing and often exhilarating movies ever. He has made about 60 films in about 40 years and plenty of them would easily fit into my all time favourite top-10 films: The Red Shoes, Black Narcissus, The Life and Death of Colonel Blimp, Peeping Tom, Gone To Earth, A Canterbury Tale, 49th Parallel, One of Our Aircraft is Missing, A Matter of Life and Death, I Know Where I'm Going, Contraband, A Spy in Black - I can recommend them all as essential viewing if you are interested in English cinema of the 1940s and 1950s. Now the Arts Channel (in New Zealand) decided to screen one I hadn't seen before, The Edge of the World, from 1937. A tragic and powerful tale of an isolated island off the coast of Scotland (in Roman times known as Ultima Thule, the island of Foula standing in for St Kilda) affected by diminishing local resources of fuel and manpower, causing emigration, economic, social and environmental decline. It was fascinating and moving to see the stories of local families intertwined with the larger social and economic issues driving change. A constant recurrence of a cinematic theme throughout the film was gravity, which of course pulls everything down: people and sheep falling off cliffs, the pull of the wider world out there affecting the economic base of the island, fishing, livestock and crofting. The camera angles are fascinating throughout as every scene is filmed either from a upward or downward position, emphasising the will of men to fight for what they want and believe in, or being looked on by the camera acting as mother nature overwhelming the actors by the majestic cliffs, pounding seas and constant winds. You'd wish there could have been another outcome for the people involved but in the end it seems it's not possible to live at the edge of the world: you either choose to leave or die on the island.

Powell's affinity for expressive and arresting visuals was apparently evident this early in his career. Formally, the film is about as impressive at it gets for 1937 with smart usage of the multilayered image, where Powell at multiple points throughout the film places multiple frames on top of one another in order to create a more resonant (to your core) effect to great success. You really do feel this film and the island comes alive in a most impressive way, catching the cliff sides, extremely small knit community, and even the sea spray in the air, this film fully encapsulates this island life. Narratively, it seems to realize its shortcomings with the sparse 75 minutes.

Michael Powell is best known for the films he made with Emeric Pressburger under the brand name "The Archers", but "The Edge of the World" from 1937 is a solo project, predating his partnership with Pressburger. It was inspired by the evacuation of the remote Scottish archipelago of St Kilda in 1930. Here the island is named "Hirta", which is the same name as that of the main island of the St Kilda group, but it is relocated from the Hebrides to the Orkneys or Shetlands. (Permission to film on St Kilda itself was refused, so filming actually took place on Foula in the Shetlands, although that island was, and remains to this day, inhabited).

A wealthy young couple, sailing around Scotland by yacht, arrive on the island where they discover abandoned cottages but no human inhabitants. They ask Andrew Gray, the skipper of their yacht and himself a native of the island, what happened, and he explains that the island has been deserted for ten years. He then tells them the story of how the population came to leave. The islanders were divided among themselves; some, including Andrew himself, wanted to stay whereas others, such as his close friend Robbie Manson, wanted to leave. Even families were split; Andrew's father James sided with Robbie, whereas Robbie's father Peter and his sister Ruth (who was also Andrew's sweetheart) were both among those determined to stay.

The story told here is partly based upon the true story of the evacuation of St Kilda and is partly fictitious. As on the real St Kilda, the main factor which is drawing people away from the fictitious island of "Hirta" is the greater employment opportunities offered to young people on the mainland. There is also the fact that there are no medical facilities on the island. The people of Hirta are also concerned that competition from commercial trawlers is damaging the local fishing industry. (This was not a factor on the real St Kilda, where the rough and perilous seas meant that the local people did little fishing). As the younger generation gradually leave, this makes it more difficult for those remaining to follow their traditional way of life which relies on strong, fit young people to help with the fishing and crofting and to gather sea birds' eggs from the cliffs. (This was an important source of protein in their diet).

Powell, born in Canterbury, may have been a native of southern England, but had a deep love of the Scottish highlands and islands; two of his later films with Pressburger, "The Spy in Black" and "I Know Where I'm Going!" were also set in the area. "The Edge of the World" can be seen as his tribute to the way of life of the local people, a life which Powell and his cast and crew shared for several months while on Foula. (No air service or regular ferry existed in 1937, meaning that they had to stay on the island for the whole length of the shoot).

While "The Edge of the World" tells a fictional story, it has a documentary feel to it, reminiscent of the documentary shorts such as "The Islanders" which were being produced by the GPO Film Unit around the same time. At this period life on remote islands was hard and lonely; the islanders of Foula, like those of St Kilda, had no gas, electricity or running water. They had never seen a car, an aircraft or even a bicycle. There were no radios and no postal service; their only way of communicating with the outside world was to launch a letter into the sea in a small wooden vessel, hoping it would be picked up by a passing ship. (They make use of this method during the film). The characters in the film refer to the mainland as "Scotland", as through Scotland were somewhere foreign, not the country where they live.

Powell shows us not only the hardships and dangers of their life but also their simple religious faith, their democratic ways (all decisions of importance are taken by an island Parliament) and their independent spirit. He also captures, in some striking black- and-white photography, the austere natural beauty of the island. The film may not have the complexity of some of his "Archers" films, but it has a beauty, a tragic power and a poetic simplicity which make it unusual in the annals of British film-making, matched in these respects perhaps only by Bryan Forbes' "Whistle Down the Wind". 9/10

A goof. The main story is said to have happened ten years ago, presumably in 1927, but the characters refer to the evacuation of St Kilda, which did not occur until 1930.

A way of life is dying on an Outer Hebridean island fishing port, but some of the inhabitants resist evacuating to the mainland.

This film really has a place in history today (2017) simply for being early Michael Powell. Had Powell not gone on to bigger things, this film would perhaps be completely forgotten. While a good film, it is the name that sells it.

But also, I think it is a great way to showcase the scenery. The Outer Hebrides, off the coast of Scotland, are rarely shown on film. Indeed, even today, they have a population of only 27,000, which seems rather modest. St. Kilda (as shown in the film) is today uninhabited, and the Hebrides as a whole still have Gaelic speakers, which is fading quickly.

I must confess that I have no liking for Scotland's Western Isles, too windswept and dreary for me, but I watched this film as it was directed by Michael Powell, and a number of well known Scots actors were in it. Sorry, but I was totally turned off by the artificial, mannered, 1930's style of acting - lines shouted out as if to be heard at the back of the gallery, and did the heroine HAVE to be constantly filmed in profile with her hair blowing in the wind? The acting was remarkably stilted, but it may have been due to the actors' theatrical background more than anything else.

I understand that the budget was constrained, but I found the number of shots against a studio backdrop, or what appeared to be a backdrop, jarring when so much of the film showed the majestic island scenery.

Although the folk of the Western Isles do not speak with a Scottish or Gaelic accent, the actors would not have been understood by the audience if they had used the real island speech, and subtitles would have been necessary. Only those of us with an ear for dialects and accents could tell the difference, and Mel Gibson's conceit of filming in what he thinks is the language of the period was thankfully not done back then.

This film is of interest solely as an early work of Mr. Powell, who later went on to direct The Red Shoes. Now THAT was a picture!

What's it like to live on a treeless rock in the middle of the roiling north Atlantic. We get a pretty good idea from master film-maker Michael Powell who set up his camera in such a place with a few actors, a scant script, and actual residents as extras. And a heck-of-a movie it is. The result looks like something from the neolithic era, with its crude rock huts, long barren vistas, and a few hunkered-down plants, along with jagged cliffs rising out of the sea like the face of God. One thing for sure -- there's no lack of fresh air .

I can't imagine the movie was made for commercial potential. It resembles Robert Flaherty's gripping documentary of life in the Irish Sea, Man of Aran, which may be why Powell distinguished his effort with a story-line. But the visuals are quite similar. And that's fine, because the craggy vistas are unforgettable. This is close to movie making at its purest and most visual. In fact, on another viewing, I think I'll turn off the sound and simply gasp at the other-world imagery.

The story may be secondary, but it's appropriate. The few remaining islanders are leaving after centuries of habitation because of deteriorating conditions. There's a romantic complication, but thankfully it doesn't get in the way. A few scenes etch themselves in my memory-- the sheep dogs lined-up outside the crude church, the tiny mail-carrying boats tossed into the sea like wishes, but most of all, the overawing sea cliffs, endless in their poetry and power. It's got to be here that the earth meets the sky or whatever it is that's above.

Rather hard for me to believe that this spartan black and white was made by the same artist who made the splashy Technicolors of The Red Shoes and Peeping Tom. But Powell excelled at cinema regardless of format, putting him in the same league as the few other British masters like Alfred Hitchcock. But whatever the pedigree, this 80 minutes of air, rock and water remains a really compelling oddity.

The premise here is the evacuation of St. Kilda, set in the uttermost Shetland Isle of Foula.

What strikes the viewer at once is the contrast between the banality of the invented drama with the uniquely cinematic beauty of the island. And, more importantly, the contrast between the flashes of genius in the framing, composition and camera angles with the flat soundstage close ups. It's as if there's two movies going on at once, and Powell lurches us back and forth.

The plot itself is a trifle of no concern...what does come through is that the human and livestock presence on the island seems an irritation that nature can't wait to shake off, such is the power of the visuals.

The rope rappelling scene is paid tribute to in "For Your Eyes Only"...

This was the directors first film, and his budget was limited. Some of his "actors" were local inhabitants, and the sound is not 21st standards. Nonetheless, the film is a near historical record of the problems faced by a small group of people living on an isolated island that could no longer cope with the attraction of modern life which began to draw away its young people. Besides electricity and indoor plumbing, the 20th century offered work that attracted the young with work and modern medicine that enabled more of their children a chance to survive.

This movie shows the anguish that splits the opinion of those who realize their ancient way of life is no longer viable.

Although the island and people depicted in the movie were fictional, there was a real Shetland Island that did choose to move to the mainland. This movie was made in 1937, and a vivid picture of the transition of European people transitioning from the 19th century into the modern world.

This atmospheric film (all Michael Powell films are highly atmospheric) of a group of villagers in the Shetland Islands trying to survive under adverse conditions is an interesting study in human behavior. And no one can do man against the elements better than Powell.

A glimpse of life on a remote island in the outer Hebrides introduces us to two families - the "Manson" and the "Gray". The former is led by the factor "Peter" (John Laurie), the latter by "James" (Finlay Currie). The thrust of the story, though, really centres around the affection his daughter "Ruth" (Belle Chrystall) has for the other man's son "Andrew" (Niall MacGinnis). The two are clearly in love and the island is keenly awaiting their wedding day. Meantime her brother "Robbie" (Eric Berry) has concluded that their subsistence existence cannot survive for long. Sheep, fish, peat and wool keep the island going for now, but for how much longer as the youngsters yearn for more from the big city and civilisation. It's this view that causes a bit of a row with best friend "Andrew" - a battle to be settled by a race up a sheer cliff in some fairly perilous conditions. Suffice to say, a tragedy ensues that rocks the island to it's core and drives a wedge between the family's that may never heal! Can common sense prevail over pig-headedness? Can optimism overcome grief? It was filmed on the island of Foulla and the cinematography illustrates well just how hard it would be to make any kind of living on this bleak and outwardly inhospitable island in the 1930s. It also, however, illustrates just how humanity reacts when faced with a communality of purpose - these people work, play and pray together and it's not hard to see why the older people resist the "bright lights" of the city; the technology of electricity, even the newly threatening deep sea trawlers that are destroying ecosystems and livelihoods alike. There's a strong cast - I always wonder if Finlay Currie was ever a young man - with a nice dynamic between the two older men and the young couple tainted by misfortune. It's got a rousing, Mendelssohn-esque, score from Lambert Williamson to complement Michael Powell's simple and effective direction and after eighty minutes I couldn't decide whether I'd live there or flee. Wear a cardigan!

I first saw this film in 2002 to view locations on the Isle of Foula for a book I was working on, I have to admit to having never heard of the movie prior to then,so thanks to Martin Scorsese & Thelma Schoonmaker (Powell's widow) for the fantastic restoration of this 1937 classic.

The film was based on the evacuation of St.Kilda in the Outer Hebrides of Scotland, and having been refused permission to film on St.Kilda for fear of disturbing the birdlife,Mr Powell sought out another island. Foula was chosen for its resemblance to St.kilda and he took the whole film unit there for 5 months between June and October 1936.

To make such a film under such conditions on an remote Island such as Foula, West of Shetland Isles at that time must have taken great courage and determination. Continuous battles with the elements,the midges,the equipment & supply failures, must have all took their toll, but Mr Powell and his intrepid band of actors & film crew all gave 100% to produce this masterpiece of cinematography.

Dangerous sequences on the cliffs were all done by the actors themselves not stuntmen, and the cameramen also had their work cut out to get in close for dramatic shots, (No power zoom lens in those days) Some great pan shots and lapse dissolves are used and classic music accompaniment makes this an unforgettable movie.

Whilst on the Isle one of the Key actors John Laurie broke his collarbone, it was thought the production would have to find a replacement, but stubborn Laurie returned to the set in a little over a month and continued with filming.Dedication to the end.

If you don't see another movie all year, see the 'EDGE OF THE WORLD' and wonder how some of the shots were done, then listen to Daniel Day Lewis' & Thelma Schoonmaker's comments on the DVD to hear how they did made it.

This is a lovely movie and was a work of love--it's obvious that the people who made this film really cared about making an artistic film that chronicled the exodus of residents from lonely and practically god-forsaken islands to the mainland. It's easy to see how important this project was to them.

In this case, the film is set on a windswept and very barren Scottish isle. Now the locals, to a degree, love their land and are reluctant to leave but also life is so darn harsh the viewer is left amazed that anyone would choose to live in such a relentless land. How they showed this was highly reminiscent of the later Italian Neo-realist films, as most of the actors were normal folks, not big-name actors AND the subject matter was so mundane (both trademarks of the style). But unlike the Neo-realist films, the artistic bent of the film is truly unique. The island and all its many sights are simply stunning--especially the cliff-side shots. They look almost like the cinematographer had the eye of an Ansel Adams--it just looked gorgeous due not only to stunning geography but a deft hand at the camera--employing filters and framing the shots so well. The "ghost scene" towards the beginning is also very stunning and exceptionally well handled.

So with so much going for it, why do I say the film is so dull? Well, think about it...the land is very, very stark and not a whole heck of a lot happens during the film. While there are a few interesting vignettes, watching these very taciturn (i.e., close mouthed) people was at times quite a chore. I just wanted SOMETHING eventful to happen and I wanted some emotion out of the actors--though this would have resulted in a more watchable but less realistic film. So instead of seeing this as fun or entertaining (which it isn't), I see this more as a documentary with a simple story that is meant simply to record this style of living before it completely disappeared. So at least historically it is a very important film--much like NANOOK OF THE NORTH or STROMBOLI (without the bad story) and other ethnographic films. But don't watch this unless you have a pot of coffee nearby--otherwise, you'll probably fall asleep again and again.

I have Scotch blood in me, and films that depict the Scottish heritage are rare. The musical score underlines the portrayal of the gentle nature of the characters in this film. Scenery depicting the stark, barren beaches of Foula are images that you'll not soon forget. That such a film could even be made demonstrates that we now live in a much harsher and more violent time. The way, for instance, that Peter Manson overcomes his prejudice against his daughter's lover is a tender yet non-verbal reconciliation scene that almost breaks your heart. This is a film for people who are capable, at least, of still remembering that such a time existed when people were gentle and kind to each other. The average gang-banger from L.A. or New York, for instance, won't be able to appreciate it.

If you liked this film, I recommend "I Know Where I'm Going" as another that portrays Scottish customs and traditions. And both films have the excellent actor Finlay Currie in them.

This film kicked off the Powell-Pressberger retrospective currently underway here in Los Angeles and, this film may be a very personal film for the great Michael Powell -- one that he would revisit in the 1970s -- but it nevertheless strikes me as for the most part the sort of crashing bore of a type familiar to those of us who see occasionally suffer through a certain type of overly earnest, deeply heartfelt yet dramatically inert contemporary independent film.

Marred by uneven acting and a non-story -- a major character, the only source of real conflict -- is killed early on, and with only an occasional flash of Powell's trademark humor but plenty of his sometimes overwrought emotionalism, "The Edge of the World" boasts a lot of amazing visuals -- though many of the shots don't really cut together in what appears to have been a arduous production process.

Still, if you love Michael Powell (and you definitely should), there'll be no stopping you from taking a look at this.

Perhaps it's a Scottish thing and I just wouldn't understand. Still, next time, I'll take "Local Hero."

A new version was reportedly released in 1978 ,featuring a color sequence where the director and the actors-survivors went on a pilgrimage to Foula.It was called "return to the edge of the world" .This is not the version I saw and it seems that none of the other users could see it either.It's really a pity.

Powell is my favorite English director.He's the only one who 's got a sense of mystery.His pictures are art,poetry in motion.He films the sea (a harsh mistress) and the desolate landscapes in a dazzling way.His influence on David Lean ("Ryan's daughter") is obvious.But I'm almost sure old wave French Jean Delannoy (not meant pejoratively) had this movie in mind when he made his own "Dieu a Besoin des Hommes" (a story in a remote Breton island ).And the almost documentary side of the movie predates Robert Bresson's asceticism.

Some called it melodramatic:on the contrary,Powell avoids its clichés; the unmarried mother became generally an outcast,most of all the French Marcel Pagnol films revolved around this subject.But Ruth's child is a new hope for the inhabitants.The sequence when they dance to a violin tune is the one really happy moment in the whole film.

The times are changing.The way of life their fathers used to know is coming to an end.Powell's movie gains an universal meaning :the situation he depicted happened (and is still happening) here there and everywhere.