On the Waterfront is a 1954 movie directed by Elia Kazan.
WHAT HAPPENS?
A dock worker is forced to stand up to the powerful, corrupt union bosses who essentially control his life.
ONE LINE REVIEW
On the Waterfront is an extraordinary display of precise movie-making and dynamic acting.
THE ACTORS
Marlon Brando effortlessly inhabits Terry Malloy, a former boxer whose life is reliant on Lee J. Cobb’s Johnny Friendly, a powerful union leader. Brando beautifully exhibits the frustrations and regret of a powerless character who has submitted to fate. The appearance of Eva Marie Saint’s Edie awakens Terry’s desire for life and challenges his courage. Brando reveals his character’s tenderness and repressed hopes in a remarkable performance.
The supporting cast is filled with memorable roles, including Saint and Karl Malden’s Father Barry. Rod Steiger turns in a subtle performance as Terry’s brother Charley, while John F. Hamilton steals scenes as Pop Doyle. However, the most intriguing supporting actor is Lee J. Cobb, who plays the mercurial Johnny. Cobb steals scenes with his physical presence – he leans into and tugs on Brando’s Malloy – intimidating the screen. He screams a raging, desperate diatribe during the movie’s climax, as he sees his power disappearing.
THE DIRECTOR
Elia Kazan presents a portrait of class disparity – two worlds that measure society’s inequality. Brando’s Terry seems to be squeezed in the middle – as visually represented behind the wire of his pigeon coups or packed in the mob of eager workers. He becomes more isolated in scenes amplifying open space – he realizes his limits while talking to Edie in a park. When he admits the truth about her brother’s death, his words are drowned out by a passing ship.
THE BEST – The Speech
Brando’s “I could have been a contender” speech is often taken out of its context and becomes more memorable than the movie itself – for obvious reasons. It’s a powerful speech that represents the regret and futility of a damaged character, but also proves to be the reckoning of each brother’s life. After the words are uttered, we soon realize that each brother’s life will be permanently altered.
THE BEST Part 2 – Pops
John F. Hamilton’s feisty, weary Pops is brilliant throughout the movie. His impassioned speech to Saint’s Edie using his battered hands as an example of his sacrifice to her is and impressive, touching moment.
THE BEST Part 3 – Father Barry
Karl Malden’s Father Barry delivers a sensational takedown of the corrupt union. In a movie known for classic speeches, this could be its best. Malden bends his dialogue around the idea of crucifixion – taking the literal act against Christ and extending the metaphor to assault the union’s grip on the powerless.
THE BEST Part 4 – Go to Hell!
As Terry edges closer to irreparable vengeance, Malden’s Father Barry physically intervenes. It’s a dynamic scene as Brando breaks down and shoves him away. He utters “go to Hell!” which is first met with silence. Malden’s stunned reaction is phenomenal – as the impact of the words, especially given the time and setting – sinks in.
THE WORST – The 1950’s
Take your pick: Brando gets a little rapey and the birds meet an unfortunate end.
FOX FORCE FIVE RATING – 4.75/5
On the Waterfront is simply an extraordinary movie.
