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The Edge of Love

The Edge of Love

Drama · History · Romance · 2008

When the Welsh poet Dylan Thomas and his flirtatious wife Caitlin sweep into war-torn London, the last thing they expect is to bump into Dylan's childhood sweetheart Vera. Despite her joy at seeing Dylan after so many years, Vera is swept off her feet by a dashing officer, William Killick, and finds herself torn between the open adoration of her new found beau and the wily charms of the exotic Welshman.

Movie details

The Edge of Love

“The only thing more dangerous than war... is love.”

2008 Drama · History · Romance 1h 50m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

When the Welsh poet Dylan Thomas and his flirtatious wife Caitlin sweep into war-torn London, the last thing they expect is to bump into Dylan's childhood sweetheart Vera. Despite her joy at seeing Dylan after so many years, Vera is swept off her feet by a dashing officer, William Killick, and finds herself torn between the open adoration of her new found beau and the wily charms of the exotic Welshman.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Edge of Love?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

John Maybury

Written by

Sharman Macdonald

Keira Knightley

Keira Knightley

Vera Phillips

Sienna Miller

Sienna Miller

Caitlin MacNamara

Matthew Rhys

Matthew Rhys

Dylan Thomas

Cillian Murphy

Cillian Murphy

William Killick

Lisa Stansfield

Lisa Stansfield

Ruth Williams

Richard Dillane

Richard Dillane

Lt Col David Talbot Rice

Anne Lambton

Anne Lambton

Anita Shenkin

Court is in session

Put The Edge of Love on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.