Single situation settings are a Godsend for independent movies. Ideas revolving around only a couple of locations are easier, and most often cheaper, to get made. A consequence of these lower production costs is a plethora of films each year that are all told within limited surroundings. With so much competition on the market it can be hard for these films to stand apart from one another and so the location chosen is paramount to the success of the project.
One film that manages to rise head and shoulders above the rest is Howard J. Ford’s The Ledge. The situation presented here is rather enticing and finds a free-climber Kelly (Brittany Ashworth) trapped on a tiny cliff edge with a group of murderous men waiting above her, and a deathly drop beneath her. It’s a premise that instantly hooks the viewer and Ford works the situation well, wringing every ounce of excitement that he can from the piece.
The build-up to getting onto the titular ledge is almost as entertaining as the peril in the clouds sequences themselves. Events start off slowly, with Kelly and her BFF Sophie (AnaÏs Parello) preparing for a daring free-climb up one of Italy’s most dangerous cliff faces. The pair undertake the task to commemorate the anniversary of Kelly’s late fiance’s death. As with literally every female friendship committed to screen, Kelly and Sophie are polar opposites; Kelly is serious and subdued, Sophie outgoing and vivacious. Their differing viewpoints on fun leads them to accept (Sophie willingly, Kelly reluctantly) the invitation from the men in the cabin next door. This turns out to be a big mistake however, as Sophie gets into deadly trouble with the de-facto leader of the men. Kelly witnesses the aggression and has no option but to flee up the mountain. It’s a slightly conventional sequence of events, but one that quickly asserts all the players, their feelings, and status within the story, paving the way for the most action heavy moments that will follow.
Once Kelly is up on the wall, Tom Boyle’s script, and Ford’s direction throw everything they can at her. From snakes and the elements, to all manner of devious tricks from her tormentors, the character is put through her paces. Brittany Ashworth sells every second whilst conveying the immense strength and ingenuity of her inner Sarah Connor. It’s an extremely physical role, not only the climbing aspect, but the running, jumping, and, most importantly – clinging onto the ledge itself, but Ashworth easily convinces the viewer that she’s up to the task.
In stark contrast to how stocic and put together Kelly is, the men are a mess. The group is made up of old ‘friends’, the kind who only meet up once a year or so to reminisce about their glory days. Within the gang, overbearing personality Joshua (Ben Lamb) rules the roost. Due to a past tragedy, Joshua has assumed control of the rest of the men and their obligation of loyalty keeps them chained to him and his often awful decisions. If horror movies have taught us anything, it is that there’s always at least one rapist or homicidal maniac within any congregation of men, with the rest of them spineless yes-men. The Ledge places Joshua firmly into the position of maniac, but does at least try to give the other members a little more autonomy. They initially try to keep Joshua in check, but quickly lose control, leaving just one of their number prepared to challenge the man in charge. It’s interesting to see a masculine clan start to splinter as the film leans heavily into male pride. Ben Lamb gives a delightfully devilish turn as Joshua; he’s not quite a full pantomime villain, but teeters around that precipice.
The whole reason that the chain of events is kicked into motion is thanks to Joshua’s delicate male ego. Sophie and Kelly each challenge his manhood, and he doesn’t like it. Early on the women laugh and belittle the men for taking the easy route up the mountain, and from here on Joshua fixates on every little comment, his anger building to disastrous results. There’s some great commentary on the fragility of masculinity and how threatened it is by the modern and empowered female; the gender politics help to elevate The Ledge to a higher level. Where the message in The Ledge starts to come unstuck is with Kelly’s coping mechanism. Stuck on the ledge to nowhere, she has to rely on something to keep her going, and in this instance it is advice from her deceased fiance. Kelly’s partner is shown via flashbacks to Kelly’s time training to climb, and his words spur her on and into survival mode. The move to essentially have a woman saved in a roundabout way by a man detracts from the strong female mantra that has, until this juncture, prevailed.
The core story of women hunted by men has been done to some degree or another a thousand times over, and whilst it attempts to deviate in places, one can’t help but think that Dexter tackled a similar narrative better. There are just a few too many familiar tropes to battle through, although these recognisable elements do serve to make the story more accessible and allow a short-cut to the main event; Kelly trapped on a ledge. The execution of the at-heights sequences is suitably anxiety-inducing. It never quite reaches the heady vertigo-ridden dizziness of white-knuckle documentary Free Solo, but does enough to deter those wary of heights to steer clear of climbing of any kind. Ford keeps the pace punchy, packing plenty in and maintaining the audience’s attention. In spite of some of the weaker story aspects and stereotypical character tropes, The Ledge remains a simple and straightforward film that entertains with its high-concept premise.
The Ledge
Summary
The Ledge has some thrilling moments, but the overuse of well-worn tropes and characters keep it grounded around the middle of the road.
The Ledge was reviewed at FrightFest Glasgow 2022. Signature Entertainment presents The Ledge on Digital Platforms 14th March and DVD 21st March.
