The film pivots around the local Norwegian doctor and his family. The doctor's wife (Ruth Gordon) wants to hold on to the pretence of gracious living and ignore their German occupiers. The doctor, Martin Stensgard (Walter Huston), would also prefer to stay neutral, but is torn. His brother-in-law, the wealthy owner of the local fish cannery, collaborates with the Nazis. The doctor's daughter, Karen (Ann Sheridan), is involved with the resistance and with its leader Gunnar Brogge (Errol Flynn). The doctor's son has just returned to town, having been sent down from the university, and is soon influenced by his Nazi-sympathizer uncle. Captain Koenig (Helmut Dantine), the young German commandant of the occupying garrison, whose fanatic determination to do everything by the book and spoutings about the invincibility of the Reich hides a growing fear of a local uprising.
The film pivots around the local Norwegian doctor and his family. The doctor's wife (Ruth Gordon) wants to hold on to the pretence of gracious living and ignore their German occupiers. The doctor, Martin Stensgard (Walter Huston), would also prefer to stay neutral, but is torn. His brother-in-law, the wealthy owner of the local fish cannery, collaborates with the Nazis. The doctor's daughter, Karen (Ann Sheridan), is involved with the resistance and with its leader Gunnar Brogge (Errol Flynn). The doctor's son has just returned to town, having been sent down from the university, and is soon influenced by his Nazi-sympathizer uncle. Captain Koenig (Helmut Dantine), the young German commandant of the occupying garrison, whose fanatic determination to do everything by the book and spoutings about the invincibility of the Reich hides a growing fear of a local uprising.
The film champions universal values of freedom, courage, and national unity against an external, totalitarian oppressor, making its core message broadly appealing across the political spectrum rather than aligning with specific left or right ideologies.
The film features a cast typical of its 1943 production era, primarily depicting white characters in a historical setting without intentional race or gender swaps. Its narrative celebrates traditional identities through the portrayal of heroic resistance against an oppressive regime, without incorporating critiques of these identities.
The film implicitly portrays the Norwegian people, a predominantly Christian nation, as embodying virtues of courage, unity, and moral righteousness in their fight against Nazi oppression. Their struggle for freedom and dignity is presented as a just and heroic cause, aligning with the film's overall positive narrative stance towards the resistance. The film's condemnation of the Nazi regime further reinforces the positive framing of the values upheld by the Norwegian community.
Edge of Darkness (1943) is a war drama centered on Norwegian resistance against Nazi occupation. The film does not include any discernible LGBTQ+ characters or themes, resulting in a net impact rating of N/A for LGBTQ+ portrayal.
The movie does not contain any action or adventure elements.
The 1943 film "Edge of Darkness" is an adaptation of William Woods' 1942 novel. A review of the main characters in both the novel and the film reveals no instances where a character's established gender from the source material was changed for the screen adaptation.
The 1943 film "Edge of Darkness" is an adaptation of a novel set in a Norwegian village during WWII. All principal and supporting characters, both Norwegian and German, are portrayed by white actors, consistent with the source material and historical context. No character established as one race was depicted as a different race.
Combines user and critic ratings from four sources