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…
I finally watched this film tor the first time a few months ago, and I really do think it's one of the best. Marlon Brando plays a washed-up boxer who works for the mob-run longshoreman's union in Hoboken. His brother (Rod Steiger) is one of the higher ups, and Brando begins to have a crisis of conscience over standing by idly while the union threatens/beats/kills anyone who dares try to come forward and testify against their corruption. I don't think such an anti-union movie like this could be made today, which is too bad.
Brando's performance is probably the most famous thing about the film, specifically his "I could'a been a contender" scene alongside Steiger, but the entire cast is…
I really wanted to be surprised and more interested in this movie than I expected. But you know. Screwed up men behaving badly, treating women badly... if I want to see Marlon Brando do that, I would honestly much rather watch him in Streetcar Named Desire. This doesn't strike any real chords for me.
faces his toughest battle
in this perfect film.
A classic that still holds up pretty well. Soundtrack was a bit intense, but then I suppose most movie soundtracks were back then. Lee J. Cobb was my favorite.
This review reportedly contains spoilers. I can handle the truth.
Brando is good as usual, but I honestly feel like this movie is overrated. Nothing besides him stands out that much to me, apart from the scene where Brando's character finds the body of his dead brother.
Criterion Blu-Ray #47. Fillet steak-and-dauphinoise potatoes cinema. That is, meat-and-potatoes 'classic' American cinema elevated to the best it can possibly be.
I really love Brando. This is the defining role for not just him, but American film in general at the time. He took acting to another level, letting his improvisations manifest into one of the most genuine portrayals of a young, troubled soul to date.
I can't comment on this being Elia Kazan's best picture (Boomerang and Wild River sit in my backlog as I type this) but there's no doubt On the Waterfront is a masterpiece. Great direction and superb contrast lighting make the HD scans look incredible. The script tackles an immense load of themes, tied up very nicely by eternally quotable lines. Lee Cobb is Lee Cobb. There's so much foreshadowing and powerful imagery packed in as…
Pigeons in a movie about a stool pigeon. Hm. Always sad to see a classic that disappoints. Kazan never seems to find a decent rhythm in his film, to me it feels like he sort of rakes his way through the script, all in order to isolate his lead. He succeeds in doing so, but the scenes he uses are, well, silly. Like the one with the foghorn or whatever it was. The boy on the rooftop is only there to make things more sentimental.
When it comes to acting, Brando seems to be ahead of his time. Too bad Saint can't keep up. Not the only reason why they are never a believable couple after what happened early on…
5 out of 5 (A)