The greatest films of all time as voted on by the Criterion subreddit using a ranked top 10 methodology from…
On the Waterfront
The Man Lived by the Jungle Law of the Docks!
Terry Malloy dreams about being a prize fighter, while tending his pigeons and running errands at the docks for Johnny Friendly, the corrupt boss of the dockers union. Terry witnesses a murder by two of Johnny's thugs, and later meets the dead man's sister and feels responsible for his death. She introduces him to Father Barry, who tries to force him to provide information for the courts that will smash the dock racketeers.
One of the great American Classics that somehow managed to elude me all this time.
I now fully understand what people mean when they say that acting has a pre-Brando and a post-Brando era. Brando delivers a seminal performance here that shook things up mainly because he showed a natural quality to his acting that wasn't common in those days. He wasn't articulate, was very physical and clearly improvised a lot.
As an adept of the Actors Studio he was a practitioner of Method Acting and if ever there was a definitive example of what that can do to a performance, it is shown in Brando's portrayal of Terry Malloy. In a story…
**Part of the Best Picture Project**
On the Waterfront is a masterpiece. That much anyone can be sure of as it concludes. But just why is it a masterpiece?
As I talked about in my review of Kazan's A Streetcar Named Desire, that film dealt with the conflict between the old Hollywood romanticism and the incoming age of realism, where stories weren't overplayed, merely depicted. In many ways, On the Waterfront is a spiritual successor to that film, arriving after that conflict is over.
Seeing On the Waterfront in historical relevance with the other Best Picture nominees only seems to make it stand out more. Here, Italian Neo-Realism arrives to Hollywood. On the Waterfront may have aspects of it that…
It's hard for me to get behind this film, which I read as a call-to-action to cleanse unions (and by extension, leftist politics) of corrupting influences. Watching a film where a man, played with surprisingly quiet passion by Brando, stands up (eventually) to those corrupting influences in risk of his life, his freedom, or his love, watching this knowing that Kazan, perhaps out of spite, perhaps out of cowardice, perhaps both, named names to HUAC, just left me feeling bitter. Reading it instead as a story about rejecting the union entirely would not, of course, make it any better. This is not an atonement; it's just almost a defense.
That it is made with craft, with the shadows of noir…
In the canon of movie masterpieces On the Waterfront stands alone. Elia Kazan's personal fury is manifested onto the screen, but with the restrained passion and technical dexterity of a virtuoso. Marlon Brando's performance was such a giant leap in progress that it ushered in a new industry standard. The maze of rooftops, half-empty bars and brooding, smoke-swept streets as seen through the caustic eye of cinematographer Boris Kaufman are as intuitively truthful as the deepening creases on Brando's brow. All of this is wrapped up (and inextricably linked to) Leonard Bernstein's brash and moving score, which at turns claps and bangs with the fiery exuberance of youth, then softens with the eye-stinging maturity of an old man looking back.…
Some people just have a face that sticks in your mind.
I'm eternally grateful to Elia Kazan for casting exceptionally handsome leading men in his films: James Dean, Gregory Peck, and my all-time favorite, Marlon Brando. In A Streetcar Named Desire Brando displayed such raw sex appeal and naturalism that I keep forgetting that I didn't like the film. But On the Waterfront is (finally!) a film starring Brando I can truly enjoy.
It's such a pity that he didn't seem to give a damn about his career. One look at his filmography and you wonder what the hell he was thinking, squandering his looks and talent all those years. Thankfully, On The Waterfront is utterly gripping from start to…
Winner of 8 Academy Awards including Best Picture, and widely considered by many to be one of the greatest American films ever made, On the Waterfront would've been a delightful cinema for me if I hadn't already seen its Bollywood ripoff numerous times since its release, due to which this one only felt predictable, somewhat boring & not very satisfying.
On the Waterfront tells the story of Terry Malloy, a longshoreman who was once a promising boxer but now only runs errands for his brother, who's the right-hand man of the union boss who controls the waterfront with his mob influence. The plot follows Malloy as he struggles to stand up against the widespread corruption around him and fights for the…
Just watched for the first time in my film history class. What an amazing film and lead performance from the incomparable Marlon Brando. I absolutely loved this fusion of the noir and gangster genre!
Spectacular. Brando is an absolute powerhouse.
"what I watched during the Super Bowl" part 1
Number 5 of 52 classics for this year and the first in black and white.
This was made in the days when it was easy to decipher what Mr Brando was saying and arguably one of his best performances as a man fighting against corrupt union bosses. Eva Marie Saint who is the only one still living amongst the main cast is also good as his love interest. Worth watching
This isn't much of a review, the film is great though but I wanted to share this thought with you all: if I could be at least 1/8th as cool as Marlon Brando is in this film, I'd be doing just fine. The guy oozes charisma, with his big brooding face that you could strike a match off of.
The guy is cooler than Freddie Jackson sippin' a milkshake in a snow storm.
On The Waterfront is a classic, no doubt about that. But it's also a tale of two stories: On one hand, there's the biting--and controversial--economic politics that are fascinating and lead to some electric confrontations; on the other is Terry Malloy's personal struggles, which are meant to root the conflict but ultimately end up dulling the rest of the affair.
Brando has undeniable charisma, but his lunkhead character is too simplistic and vague to really give credibility to the forced relationship with Eva Marie Saint's impassioned Edie Doyle. There's something to be said for his guilt over the death of her brother at the onset of the film, but the drawn out back and forth that follows lacks tangible bonding…
Class, UCSC - FILM 134A
A great drama film starring Marlon Brando.
4.75 --> the final is a bit too lame for such a high class film
Recently I was contemplating making a list of my favorite scenes in film, but I decided that instead of just…
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