Walking the Edge (1985)Exploitation, Scuzz and Robert Forster’s Masterclass (Review)

New Label Radiance Films has kicked off with considerable intent; as well as their releases, they are also working with Mawu Films, Altered Innocence and Fun City Editions (UK) – the latter of which 1985’s Walking the Edge belongs. Norbert Meisel directs his wife, Nancy Kwan, and committed character actor Robert Forster in this scuzzy crime thriller. “Committed Character Actor” is a direct quote from the new video essay by filmmaker Chris O’Neill (“Breaking Point”). Filling out the extras are multiple commentaries (one archival with director Norbert Meisel, Forster and Kwan and one newly recorded with historian Chris Poggiali and producer Matt Verboys) and a new interview “Det Jurgensen Remembers Forster and Spinell,” with “French Connection Cop” Randy Jurgensen.

Opening with Nancy Kwan (Christine) held captive along with her son, Danny (Doug Toby), by a bunch of lowlife gangsters led by Joe Spinell (Brusstar). That scene ends with Christine’s husband & Son killed as she crawls to safety. Elsewhere in this LA suburb, Robert Forster (Jason) is a taxi driver/debt collector for a gangster referred to as the Fat Man. As Jason hangs around the taxi offices, Christine stubbornly approaches him for a taxi job, refusing to take no for an answer – his mind is elsewhere after receiving a troubling ultimatum from his boss. This job sees him become an accessory to the murder of two members of Brusstar’s gang. Appaled by seeing death in front of his face, Jason hides Christine in his crummy flat as he hits the streets – keeping up appearances. A status quo that is impossible to keep as word on the street is Brusstar has a price on the pair’s heads. As events escalate, why that video essay is called Breaking Point becomes all too clear; Jason walks the line between the criminal world and his past as a baseball pitcher – with him eventually pulled over the edge.

Walking the Edge does not have a strong plot, playing instead as more of a character-motivated piece. The foundation of 1980s action was unquestionable machismo; while Meisel’s film isn’t strictly action – it does subscribe to the same rules. Elsewhere, Jason would be a man of action, but that isn’t the case in Curt Allen’s script. His introductory scenes see him belittled by his boss, unable to act due to anxiety born from his belief that there is a path back into baseball for him. Soon after that, he can’t perform in bed with Aarika Wells. All this in 1985 America, where masculinity was indisputable, rampant, and virile. And not once does Robert Forester depict him as an easy target – on the contrary, he is capable of violence; he is just a man who wants to do the right thing despite people constantly telling him: “nice guys finish last”. It’s an incredibly likeable and relatable performance – even when fate pushes him towards violence, he is always sympathetic.

Beyond Forster’s Jason, the entire ensemble is interesting. Christine (Kwan) is more than just her vengeance; scenes, where she is hiding from the gangsters after her life and the prying eyes of Jason’s busy-body peeping tom neighbour, allow her character to be more than her motivation and her potential love interest status. Joe Spinell’s gang is a compelling entity. They hate each other and don’t appear to be threatening in any way – yet when they are on the clock: they torture people with no qualms in some grizzly sequences. One with a drill stands out especially. Particular highlights of the extended ensemble come in the shape of a prostitute, Delia (Frankie Hill), and a wonderfully coiffured Leon (Russ Courtney) – who, between them, have some of the best dialogue and one-liners. As a piece of writing – Walking the Edge is a great script full of memorable characters and a concept that falls between the TV sitcom Taxi, Michael Mann’s Collateral and Scorsese’s Taxi Driver.

Execution is a muddier affair. As is often the case with low-budget movies made in the 1970s and 80s, the visuals are incredibly grainy – credit, where it’s due, the fun city print maintains all of that. Without it, the film would look broken. Beyond the main two of three players, the performances leave much to the imagination. Cinematography doesn’t stand out beyond its questionable shot and angle selections. And there’s a punk rock club which is memorable for all the wrong reasons. But, still, this Fun City/Radiance release is a worthwhile addition to the collection of any avid exploitation cinema fan. You can thank the endlessly quotable dialogue and a quietly influential performance and role by Robert Forster for that.

Rob’s Archive – Walking the Edge