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The Light at the Edge of the World

The Light at the Edge of the World

Adventure · Drama · Fantasy · 1971

Pirates take over a lighthouse on a rocky island. They then execute a devious plan to cause ships to run aground, pillaging their wrecks. A lone member of the lighthouse crew survives, and he deperately fights their plot. A shipwrecked maiden that avoids the pirates slaughter soon complicates the situation.

Movie details

The Light at the Edge of the World

“Jules Verne Takes You Over the Edge of the World!”

1971 Adventure · Drama · Fantasy 2h 8m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

Pirates take over a lighthouse on a rocky island. They then execute a devious plan to cause ships to run aground, pillaging their wrecks. A lone member of the lighthouse crew survives, and he deperately fights their plot. A shipwrecked maiden that avoids the pirates slaughter soon complicates the situation.

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 Light at the Edge of the World?

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

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Kevin Billington

Written by

Rachel Billington · Tom Rowe

Kirk Douglas

Kirk Douglas

Will Denton

Yul Brynner

Yul Brynner

Jonathan Kongre

Samantha Eggar

Samantha Eggar

Arabella

Jean-Claude Drouot

Jean-Claude Drouot

Virgilio

Fernando Rey

Fernando Rey

Captain Moriz

Renato Salvatori

Renato Salvatori

Montefiore

Massimo Ranieri

Massimo Ranieri

Felipe

Court is in session

Put The Light at the Edge of the World on trial.

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

The defence The Sentimental Softie

“Sincerity is not manipulation.”

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

The prosecution The Cool Ironist

“The strings are showing.”

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