All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
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…
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…
Can one simultaneously love and detest a work of art?
I was surrounded by both of these feelings when watching Elia Kazan's 1954 film On the Waterfront. It often is put on lists of top films of all time, and I do think it is fantastically done, but the message of this movie deeply troubled me.
To expand on this, let me explain the history of this film a bit. Elia Kazan was at one time close friends with the playwright Arthur Miller (Death of a Salesman et al) in the late forties. They often came to each other for advice and even collaborated on occasion.
Cut to the early 1950s in America. The Red Scare was in full swing…
Why Marlon Brando is the Best Actor in the World?
Watch On The Waterfront, you will know why.
Story of Terry who could have been a contender, but now toils for a boss Johnny Friendly on the waterfront. Terry is guilt-stricken when one of his worker friend is murdered with his help to lure him on the roof. But he fall's in love with Eddie who is the dead friends sister and starts to question his conscience. He gets in deep when his brother Charlie is killed for not killing him. He then tries to crush Friendly's empire by testifying.
One of exciting ting about this film is that it has a simple yet flowing screenplay with exceptional camera work.…
On The Waterfront is brilliant on every level of film making that you care to mention. OMG is it good.
And 'THAT' scene, the one everyone's read about 'I could have been a contender', I didn't see it coming and when I finally realised I got goosebumps and the hairs on the back of my neck stood up.
'It wasn't him, Charley! It was you.' I loved the scene and off the top of my head I would put it right up there with 'The Watch' scene from Pulp Fiction, 'The Sicilian' scene from True Romance and the scene from 'The Public Enemy', the one where James Cagney smashes a grapefruit into Mae Clarke's face (not that I'm condoning violence…
Usually what happens when I finally catch up with a well-loved movie is that I find myself agreeing and being happy that I watched the film in question. It happened before with another Elia Kazan movie, A Streetcar Named Desire, and I was hoping that it would happen again with On the Waterfront. There's good reason to believe I would end up liking it, since I generally like actor's movies and melodrama works more often for me than for most, I think. And so here we are.
Well, I'm nothing if not consistent. On the Waterfront is great, a pinnacle of acting and writing and directing alike. Of course, none of this should be a surprise. With the likes of…
A great "film from the pulpit," one that addresses timeless themes of good, evil, frustration with due process, and frustrations with power in the public eye. Brando really is very good. Occasionally, it's heavy-handed, but there's no wasted time. Eva Marie Saint is secretly fantastic, giving the sort of performance Frances McDormand is now known for giving.
No real complaints, just didn't hit me too hard as I watched it. It may increase in my esteem over time.
'You don't understand. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let's face it.'
Marlon Brando was not only one of the finest actors ever to grace the big screen, he was also one of the most important. Terrifically physical, he spearheaded the transition from the stagier acting styles of the 30s and 40s into something more fluid and authentic. On the Waterfront is one of Brando's greatest performances, but it is not so limited in its scope. It is a film that tests the limits of cinematography, politics and integrity too, and is on top of that gripping and entertaining. It is a simple enough…
An ex-prizefighter, with ties to the mob-like group that runs the local longshoreman union, inadvertently abets a murder, and after getting to know the victim's sister his conscience begins to make him rethink his life. An artfully done film, with an exciting, suspenseful story of organized crime, romance and redemption that is elevated to unforgettable levels by Brando's unrivaled performance. You can actually see him him making acting evolve!
Oscar Wins for Film Editing, Art Direction-Set Decoration (Black-and-White), Cinematography (Black-and-White), Writing – Story and Screenplay, Supporting Actress (Eva Marie Saint), Director, Lead Actor (Marlon Brando) and Best Picture. Oscar Nominations for Original Score and Supporting Actor (Rod Steiger, Karl Malden and Lee J. Cobb).
It's only after having recently watched many other films from The Fifties that I can really appreciate how extraordinary Brando's performance here is. It doesn't hurt that he has very good support, but from his first frame it is obvious who is in charge. Our generation and beyond will never experience the 'wow' factor that he created.
"I'm glad what I done to you! I'm glad I testified to the House Un-American Activities Commission on you! I will never stop putting heroic acts of sexual assault in my movies! I'm Elia Kazan and you can suck my American penis!"
On the Waterfront rejuvenated my love for film.
I could talk about the acting. Or the sets. Or the clean simplicity of the story. Or even the sheer handsomeness of Marlon Brando and the beauty of Eva Marie Saint. But I'm not going to rehash a love that has been expressed by so many others.
I just wanted to highlight the beautiful composition of people in On the Waterfront. Technically, every shot of multiple people emphasizes a certain depth. We see all their faces, an assortment of different expressions. And they're all crammed into the tiny 1.61:1 frame in a way that doesn't make them seem crowded. I think "crammed" would be the entirely wrong word. Each single face in…
Marlon Brando is a God
Nota = 5
Every film that has ever been nominated for an Academy Award in any category. Enjoy!