It isn't difficult to corrupt a young man’s spirit. Mark Robson directed Edge of Doom, with a screenplay by Philip Yordan based on a novel by Leo Brady. The film features Dana Andrews, Farley Granger, Joan Evans, Robert Keith, Paul Stewart, Mala Powers and Adele Jergens. Hugo Friedhofer composed the music and Harry Stradling was in charge of cinematography. Allow evil to take hold and it will flourish. Robson and Stradling created a consistently dark atmosphere using classic film noir techniques; if not for the pronounced religious elements, this could easily be considered one of the genre’s best films. The story begins and ends with Dana Andrews’ priest offering guidance to a young apprentice, and everything in between is steeped in a pervasive sense of despair as Farley Granger's impoverished youth struggles to arrange a lavish funeral for his recently deceased mother. Burdened by an intense attachment to his mother, Martin Lynn searches the harsh city for assistance but finds none. His employer, the church, offers no support, so when he loses control, he must also face guilt and the looming threat of arrest. Throughout this ordeal, Father Roth attempts to showcase the positive aspects of the church, even becoming a target for Martin’s frustration at one point. But can he provide redemption for a desperate Martin Lynn as his soul begins to unravel? Samuel Goldwyn withdrew financial support from the project, and Granger largely distanced himself from it; understandably, the film was unsuccessful commercially and has since remained obscure within noir cinema. The excessive emphasis on Father Roth weakens the movie, leading Goldwyn to request Robson perform a re-edit and bring in Ben Hecht to strengthen the religious theme. There are moments when Granger’s performance feels exaggerated, while Andrews seems somewhat out of place in a role that would have been better suited for Pat O’Brien. However, the supporting cast, especially Keith and Stewart, more than make up for this. The story possesses enough intensity to complement the striking visuals and pervasive cynicism that permeates this depiction of New York's underbelly; it truly should have achieved greater heights. 7/10

Source on TMDB