This is a truly bizarre film for Hollywood, as instead of the usual shallow themes, this film is all about existential angst. The film begins with a group of good-looking and well to do people at a party just following the end of WWI. Here we are introduced to the main characters we'll see throughout this lengthy film. The most important character is played by Tyrone Power. While he isn't as rich as the rest of these people, he is comfortable enough. However, he surprises everyone by announcing he not only doesn't want to get married now that the war is over (disappointing his girlfriend, played by Gene Tierney),but he also doesn't want a fancy white-collar job but wants to do manual labor and explore who he is--an understandable thing considering that WWI shattered so many people's ideas of the meaning of life.

Miss Tierney THINKS this is just a passing fancy, so she at first encourages Tyrone. However, when it's clear he's serious and if they did marry, they'll be relatively poor, she drops him and chooses a richer man. Tyrone is not hurt by this and encourages her to marry a wealthy man, as he knows it might be years until he's ready to settle down and he has no idea where his quest will take him.

Other characters you meet at the party are the author himself, Sommerset Maugham (who was not a character in the 1984 remake). I'm not sure if he placed himself in the original story--I'll have to read up on this. There is also Clifton Webb playing a snobbish and acid-tongued uncle. Generally, he's like his Mr. Belvedere character but rich and more snobbish. Late in the film, the shallowness of this man actually leads to a wonderful but heart-wrenching scene on his death bed. In addition, there is Tierney's husband and Sophie (Anne Baxter).

All these characters, in one way or another, explore or refuse to explore the meaning of life and either choose to step outside their comfort zone or they choose stagnation and self-absorption. These parallel stories are fascinating and make for a very deep and satisfying film as long as you are willing to give the story a chance and don't demand a by-the-numbers Hollywood style film.

Excellent acting, writing and direction all in all.

Larry Darrell (Tyrone Power) is marrying Isabel Bradley (Gene Tierney). Larry was a pilot during WWI and is looking for meaning in life. He is haunted by a friend's sacrifice near the end of the war. He refuses to accept any job offers. Some in Isabel's rich family do not approve. She starts having doubts herself.

I don't get the sense from Tyrone Power that he's haunted. Maybe he does reach that level in one scene. His character needs lots of emotional transformation. He has to find enlightenment from the depths of despair. His search for enlightenment is interesting especially for that era. I think that was intriguing for an audience after the exuberance of victory. Isabel is really the observer of the story. It's almost more her story than his. The premise is rather interesting although it needs something to make the emotions more powerful. The story deserves it.

British storyteller W(illiam) Somerset Maugham's 1944 speculative novel "The Razor's Edge," as did his earlier semi-autobiographical "Of Human Bondage," won a devoted following when it hit the book shelves, and so 20th Century-Fox wasted no time in securing the screen rights to this mammoth war-era adventure into existentialism. It was a difficult, elephantine undertaking but they somehow managed to carve out a screenplay and present the whole package within two years of the novel's first print.

Awesomely produced and directed, the resulting movie, for the most part, propels Maugham's central theme -- that there is good and bad in all human beings. The focus centers in on the long, spiritual quest of Larry Durrell, a basically virtuous individual who, surrounded by wealth, beauty and privilege, abandons his enviable but superficial trappings to pursue a more humble, meaningful life. Oddly enough, it's the superficial elements of the story and the more pretentious characters that hold up "The Razor's Edge," while the spiritual scenes grow flat and weary, often times stopping the action dead in its tracks.

In casting Tyrone Power as the protagonist, one finds THE major flaw in its presentation. Tagged as a pretty boy for most of his career, he managed to show only glimpses of dramatic aptitude from time to time ("Witness for the Prosecution" comes to mind). Earnest and utterly sincere in his approach, Power simply lacks the power (sorry) and the depth to carry off this complex, confused, anachronistic soul-searcher. His Durrell seems better suited amongst the shallow and superficial. One only wonders what a Robert Donat or Fredric March might have done with such a role.

Surrounding Power, however, is a stellar list of names that gussies up this production, and it is in them that we find the film's emotional impact. In particular, Gene Tierney offers one of her finest performances as Isabel, the grasping, captivating socialite obsessed with Durrell, who shows her true colors in the end when goodness and all else fails to win her the love of a man. Like Power, Tierney is a flawless, incredibly photogenic beauty who tended toward posturing instead of acting. Here she is allowed to capitalize on her tendency towards elegant frippery, offering a cool, intriguing portrait of a woman who can and will never have enough.

We are also blessed with the presence of Clifton Webb, the epitome of smug elegance, who is true to form here as the meticulous, wasp-tongued prig who is not use to being told "no." As in the classic "Laura," Webb is handed the film's most delicious lines as his character goes about buffering his unhappiness with scorn and witty sarcasm. He would warm over this character recipe many times in movies, but darned if you don't keep going back for second helpings. He is delightfully hateful and absolutely mesmerizing. Anne Baxter as the helpless, tragic Sophie is heart-wrenching, giving a florid, Oscar-winning performance that lingers long after the final reel. She, not Power, is the heart and ravaged soul of this piece. The hospital scene following her horrific accident will rip you apart, as will her subsequent degradation into alcohol and prostitution. Known for her flashy, theatrical roles, Baxter plays Sophie for all its worth.

John Payne is typically upright and appealing and does what he can in a rather stiff, thankless "other man" part, while suave Herbert Marshall, who, in reality, lost a leg in WWI but continued to act (often in a chair),portrays Maugham himself with customary flair.

Granted, "The Razor's Edge" is no "Lost Horizon" in the metaphysical department, but on its own it is quite admirable and engrossing entertainment. It manages to hold up exceedingly well under its great length and weight, feels only slightly dated, and prides itself with gorgeous production values and a handsome, handsome cast.