Edge of Fury 1958

Thriller

Runtime

77 mins

Language

English

Directed by

John Harvey

Made by

Wisteria Productions

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Edge of Fury Plot Summary

Read the complete plot summary and ending explained for Edge of Fury (1958). From turning points to emotional moments, uncover what really happened and why it matters.

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.

Edge of Fury Timeline

Follow the complete movie timeline of Edge of Fury (1958) with every major event in chronological order. Great for understanding complex plots and story progression.

Opening arrest on the beach

The film opens with a psychiatrist’s voiceover about Richard Barrie, a young war veteran and troubled artist who has asked to be confined. As he paints on the shore, police move in to arrest him, setting a somber tone for his unraveling. The scene frames Richard as both artist and potential criminal, foreshadowing the events to come.

Opening scene Beach

Richard secures a cottage for his 'family'

In a flashback, Richard discovers a beach cottage for rent and reserves it for Florence Hackett and her two daughters, Eleanor and Louisa. The women meet him in a grocery store, and Florence is won over by his manners and charm. This marks the start of his self-appointed family project.

Flashback start Beach cottage / Grocery store

A coworker's warning about Richard's isolation

Richard’s coworker at the local bookstore recognizes him as disturbed and socially isolated. She urges him to follow his doctor’s advice and try to make real friends beyond the Hackett family. This exchange hints at his fragile psyche and foreshadows the jealousy to come.

Early backstory Local bookstore

Richard settles in the shed; early harmony

At the cottage, Richard sets himself up to stay weekends in a shed, feeling he’s building a home for the four of them. Louisa wants the guest room kept free for her boyfriend, which forecasts friction to come. The arrangement starts with a tenuous peace.

First weekends Cottage shed

Jealousy over Louisa and her boyfriend

Richard grows jealous when Louisa and her boyfriend openly express their attraction for each other. She taunts him, reinforcing his sense of being a nobody and increasing his paranoia. The emotional pressure pushes him toward irrational behavior.

First weekends Cottage / Beach

Eleanor's kiss; Richard asserts platonic ties

During a beach walk, Eleanor kisses Richard, who insists he sees her as part of his 'family' rather than a romantic partner. The moment deepens Richard’s confusion about boundaries and fuels his growing tension.

Beach scene in flashback Beach

Louisa arranges a date for Eleanor

Louisa suggests Eleanor go on a date with an acquaintance, implying Richard might realize he’s letting someone good slip away. The exchange amplifies Richard’s insecurity about his place with the Hackett women.

Evening before dinner Cottage / Beach

A troubled dinner; violent outburst

Richard throws a dinner party in his shed, but it falls flat. He then discovers Eleanor and her date embracing on the beach and responds by trashing the cottage rooms in a jealous outburst. The scene marks a clear breaking point in his control.

Evening Shed / Cottage

Confrontation escalates to abuse

Eleanor confronts Richard after his violent outburst, and he lashes out by physically abusing her. Louisa accuses him of wrongdoing, and Florence demands an apology or that he leave. The confrontation signals a rapid deterioration of Richard's self-control.

After party Cottage

Portrait vandalism and preparations grow tense

Richard mutilates the portrait he painted of Florence and leaves it where Florence and Eleanor will find it, signaling his break from any semblance of stability. Florence calls Louisa for help, and Louisa arranges for a neighbor boy to stay overnight for protection. The household slides toward tragedy.

After confrontation Cottage

The neighbor boy arrives; murder dawns

The neighbor boy arrives as a precaution, but Richard stabs him to death and then murders Florence. The violent escalation is complete, and Louisa and Eleanor are left to confront the horror.

Night Cottage

Eleanor flees; family tragedy closes in

Louisa and her boyfriend return to find the cottage in chaos, and Eleanor runs from the scene. Richard has fled, leaving Florence’s body behind as the consequences of his actions crystallize. The house stands as a silent witness to the carnage.

Immediately after killings Cottage

Final scene: painting as crime soundtrack

The film returns to the opening moment, with Richard calmly painting on the beach as police arrive to take him away. The quiet art contrasts with the violence that preceded it, underscoring the film's unsettling cycle of fixation and murder.

Ending Beach

Edge of Fury Characters

Explore all characters from Edge of Fury (1958). Get detailed profiles with their roles, arcs, and key relationships explained.

Richard Barrie (Michael Higgins)

A young war veteran and troubled artist who isolates himself and fixates on the Hackett family. His need for control and fear of abandonment escalate into jealousy and violent impulses. He views the Hackett women as part of a fragile 'family' he can shape, and his delusions push him toward increasingly harmful acts. Richard's precise, self-deluding nature makes him feel righteous even as he crosses lines into abuse and murder.

🧠 Obsession 🪞 Isolation 🩸 Violence

Florence Hackett (Doris Fesette)

A matriarch who welcomes Richard into her household after a chance meeting in town. She tries to maintain order and protect her family, but the dynamic with Richard becomes unstable as his jealousy grows. Her sense of responsibility and warmth ultimately collide with Richard's volatility, leading to a tragic confrontation. Florence's calm surface masks the tension beneath.

👩 Family 🏠 Protective 💔 Betrayal

Eleanor Hackett (Jean Allison)

The elder Hackett daughter who develops a crush on Richard, complicating the household dynamics. She seeks a sense of closeness but remains wary of Richard's intensity. Eleanor's interactions with Richard reveal the thin line between affection and manipulation, and she tries to steer the situation toward safety.

👩 Family 💔 Unrequited Affection 🕊️ Boundaries

Louisa Hackett (Lois Holmes)

The stand-offish, alluring sister who becomes the focal point of Richard's fixation. She has a steady boyfriend and toys with Richard's jealousy, while using flirtation to press boundaries. Her actions amplify Richard's paranoia and propel the tragic chain of events.

👩 Family 💘 Attraction 🛡️ Defiance

Freddie (John Harvey)

The neighbor boy who stays overnight at the cottage, a bystander caught in Richard's spiraling violence. His presence marks the intrusion of ordinary life into Richard's disturbed fantasy of 'family.' His murder is the film's shocking consequence.

👦 Neighbor 💥 Victim

Edge of Fury Settings

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Location

Beach and seaside cottage by the sea

The setting centers on a wind-swept beach and a cottage by the shore. Richard arranges weekends at a shed behind the cottage, shaping a claustrophobic domestic space for an improvised 'family' with Florence and her daughters. The seaside environment contrasts with the mounting tension, as the open horizon cannot contain Richard's escalating paranoia and possessiveness.

🏖️ Beach 🏠 Cottage 🌊 Seaside town

Edge of Fury Themes

Discover the main themes in Edge of Fury (1958). Analyze the deeper meanings, emotional layers, and social commentary behind the film.

🧠

Mental Illness

Richard's escalating paranoia and delusional fixation frame the narrative, showing how untreated trauma can warp perception and behavior. The psychiatrist's voiceover and Richard's erratic actions highlight a mind spiraling toward control and isolation. His fixation on staying close and shaping a 'home' corrodes boundaries, culminating in violence.

💔

Jealousy

A key driver of the drama is Richard's jealous fixation on Louisa's relationship with her boyfriend. His jealousy destabilizes the delicate 'family' dynamic he envisions and triggers destructive acts. The film shows how perceived betrayal and possessiveness escalate quickly to abuse.

🔪

Violence

The climax centers on Richard's lethal actions, including the neighbor boy's murder and Florence's murder, as the tension erupts from simmering jealousy and paranoia. The violence disrupts the fragile illusion of safety and exposes the consequences of obsessive control. The ending circles back to the opening, underscoring Richard's fate as he is taken away by authorities.

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Edge of Fury Spoiler-Free Summary

Discover the spoiler-free summary of Edge of Fury (1958). Get a concise overview without any spoilers.

The sea‑kissed cliffs of a sleepy coastal town cradle a weathered cottage that serves as a summer haven for a small family. The salt‑laden air mingles with the scent of fresh paint, and the quiet rhythm of tides creates a backdrop that feels both serene and prickly, as if the landscape itself is holding its breath. Within this isolated retreat, the ordinary hospitality of a mother and her two daughters is quietly shadowed by a growing undercurrent of unease, setting the stage for a night where tension tightens like a rope pulled too far.

Richard Barrie arrives as a wandering beachcomber—a war‑scarred veteran turned struggling artist who has chosen the shoreline as his studio and sanctuary. He brings with him a meticulous charm that instantly wins the respect of Florence Hackett, the matriarch whose practical kindness masks her own longing for stability, as well as the attention of her daughters, Eleanor and Louisa. While Eleanor is drawn to his gentle manner, Louisa’s enigmatic allure pulls him in a direction that threatens the fragile balance he tries to maintain. His paintings of the ocean become a silent dialogue with his inner turmoil, hinting at a yearning for a makeshift family that feels both comforting and alien.

As the days slip into a single, starlit evening, the veneer of camaraderie begins to fray. Richard’s polished manners give way to fleeting flashes of jealousy and an unsettling volatility that he struggles to conceal. The atmosphere swells with unspoken questions: whether his desire for belonging will dissolve into obsession, and how the quiet beauty of the shore can coexist with a mind edging toward madness. The film hovers on this precipice, inviting the audience to feel the slow rise of dread that lingers just beneath the gentle crash of waves, while leaving the true outcome of these simmering tensions veiled in mystery.

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