Edge of Fury 1958

The film opens with a voiceover by a psychiatrist discussing his patient: a young war veteran and struggling artist, Richard Barrie, who had asked to be confined, but said that

society acts only after a crime has been committed.

In a flashback, a beachcombing Richard Barrie comes across a cottage for rent and reserves it for a small unit he calls his “family”: Florence Hackett and her two daughters, Eleanor Hackett and Louisa Hackett. Florence is struck by his manners and clean-cut charm, and Eleanor quickly develops a crush on him, while Richard is drawn to the more enigmatic, alluring Louisa, who already has a steady boyfriend. A fellow worker at the local bookstore senses that he is a troubled loner who isolates himself and fixates on the Hackett women, and she urges him to heed his doctor’s advice to broaden his circle.

At the cottage, Richard sets up a weekend retreat in a shed on the property, while Louisa insists the guest room remain free for her boyfriend’s visits. For the first few weekends, the arrangement is oddly pleasant, with Richard feeling as if he’s building a home for his chosen family, even if the Hackett house is messy at times. However, jealousy begins to gnaw at him as Louisa and her boyfriend openly express attraction for one another, and he grows increasingly paranoid that he is being mocked or kept at arm’s length. He clings to a illusion of control, convinced that he is losing his place in a world that never truly accepts him.

During a walk on the beach, Eleanor kisses him, and he insists that his bond with her is familial rather than romantic. Louisa suggests that Eleanor’s date is not the one that should be missed, hinting that Richard may be overlooking a chance at something good. Richard hosts a dinner party in the shed, which turns out to be a partial success; afterward, he witnesses Eleanor embracing her date on the shore and reacts with a violent outburst, trashing the cottage rooms. Eleanor tries to calm him, telling him she understands his jealousy but does not care for the man, and he responds with a forceful, troubling act toward her.

The tension escalates as Louisa confronts him about exploiting her sister; he lashes out, calling her a “tramp” and accusing the women of setting him up. Florence demands an apology or for him to leave, and the pressure of paranoia and mounting psychosis becomes almost unbearable. He leaves the shed but refuses to depart from the cottage, mutilates the portrait he painted of Florence, and leaves it for her and Eleanor to discover. Florence calls Louisa in a panic, and Louisa returns to the cottage with the boyfriend, while a neighbor boy is brought in for protection for the night.

When the neighbor boy arrives, Richard stabs and kills him, and then murders Florence. Louisa and her boyfriend rush back as Eleanor flees in fear. Richard escapes from the scene, and the film circles back to the opening: he is once again calmly painting on the beach as the police arrive to take him away.

The story lingers on the fragile line between obsession and art, examining how one man’s desperate longing for “family” and recognition spirals into destructive acts under the weight of isolation, jealousy, and a mind pushed to the edge. The seaside setting and quiet moments of painting juxtapose with bursts of violence and a chilling sequence of events that culminate in the closing image of Richard Barrie being led away by authorities, leaving a haunting impression of the fragility of the human psyche.