The Edge of the World (1937)
The slow shadow of death is falling on the outer isles of Scotland.
If you are unfamiliar with the great classic directors of British films beyond Alfred Hitchcock, there are four names you should know: Alexander Korda, Carol Reed, David Lean, and Michael Powell. Michael Powell is primarily known for his collaborations with Emeric Pressburger which include The Red Shoes, Black Narcissus, A Canterbury Tale, The 49th Parallel, and I Know Where I’m Going. Powell has been cited as an influence on such filmmakers as Martin Scorsese, Francis Ford Coppola, and George A. Romero. The Edge of the World is pre-Pressburger; in fact, it is Powell’s first original work.
Powell was intrigued by the story of the evacuation of St. Kilda, one of the islands in the Scottish Hebrides. By 1930 its population had dwindled to the point that it asked to be relocated to the mainland. Powell wanted to film on St. Kilda, but was denied permission as authorities were afraid that the crews would disturb the birds as the island was now a bird sanctuary. Instead, Powell went to the Shetlands and an island named Foula, called Hirta in the film.
The story is simple. The young residents of Hirta are being seduced by better jobs and modern conveniences on the mainland. This is represented by two families, the Mansons and the Grays. Peter Manson (John Laurie) is a traditionalist who stubbornly clings to the old ways. His son, Robbie (Eric Berry) wants to move away while his sister, Ruth (Belle Chrystall), is engaged to Andrew Gray (Niall MacGinnis) who like Peter wants to remain on Hirta. As a result of a tragedy, the two families become estranged and Andrew leaves the island. In his absence, events conspire to make the inhabitants of Hirta even more aware of the precariousness of their lives in such a bleak place.
This is not a long film, but it leaves a lasting impression. It’s shot in black and white with a mostly documentary feel. Powell does use some camera tricks to create mystical impressions of ghosts haunting the now deserted island, but what you will remember the most are the rocky slopes, the wind and the sea. Most of the extras in the film are actual residents of Foula and we observe the old ways of life: raising sheep, grinding corn, harvesting peat for fuel. Going to church on Sunday was serious business, but also the social event of the week. The birth of a child calls for a celebration by all and the illness of one affects the entire community.
This was not an easy shoot. It was difficult to get the equipment up the steep cliffs, and the crew was forced to build most of their shelters and they were stranded on the island for weeks at a time. The lead actor was injured which resulted in delays. There were no stunt people and so all of the characters that we see climbing and hanging from ropes are the actual actors…scary stuff.
In the end, this movie stands as a valuable record of a way of life long gone and a testament to those hardy men and women who persevered for so long against the odds. How heart-breaking it must have been for them to make the decision to move their entire community away from their home. I think that many communities who see their young people move away in pursuit of employment and opportunities can recognize and empathize with the pain of this story.
This film is also important as the first major step in such a distinguished career. Michael Powell would make many of Britain’s most beloved films until the 1960s when he directed Peeping Tom. The controversy created by that project would tarnish his name for many years, but he is now being rediscovered and recognized as one of the most important directors of the 20th Century.
It’s interesting to note that after the discovery of North Sea oil, the inhabitants of Foula are thriving much better than their counterparts in The Edge of the World. Still, that way of life has faded away into memory just as log cabins and covered wagons have in this country. While we enjoy the benefits of our modern lives, this movie reminds us to pay our respects to the pioneer spirit of the past.
