Quando comecei a assistir mais filmes eu precisava de um caminho pra seguir e caí de cabeça em um monte…
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…
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…
**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…
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…
Obra visceral en la que Kazan nos hipnotiza con todo el cine que tiene en sus venas.
La iluminación, la composición, la densa calima del puerto... todo parece estar ahí con el único propósito de calarnos, de sacar lirismo de lo mundano. Y en este clima claustrofóbico se nos presentan unos personajes oprimidos hasta los extremos, siempre ocultos tras rejas, vallas y redes.
Cada plano es un golpe en el estómago, cada escena está inyectada de violencia contenida y abrumadora.
En medio del abismo surge Terry Malloy con carne de mártir, aguantando los golpes hasta el último asalto, dudando, venciendo, siendo derrotado.
Dicen que es una obra sobre la delación. Yo digo que va más allá. Es una obra sobre…
Heard this be the response of Kazan to his once-friends, well this ain't very right analogy comparing man standing up against currupt harbor gang to Kazan succumbing to McCarthy's terror.
The choreography is impressive, and despite the story not having much depth, it has its fun. Kazan, after all, is a master director.
"You don't understand, I could'a had class! I could'a been a contender! I could'a been somebody, instead of a bum! Which is what I am, let's face it."
I was waiting practically the entire movie for that line.
This one's been on my watchlist for what feels like forever. I'm ashamed to say that I STILL haven't seen 'A Streetcar Named Desire,' and that my main experience watching Brando comes from 'The Godfather' and 'Apocalypse Now.' All the things I've read about the guy paint him as a spoiled brat, a diva with an ego the size of Jupiter. Walking off set, ditching projects the morning of the first shoot, coming to work drunk and late -- it sounds to…
This is such a great movie. Marlon Brando's performance is incredible. That "I could've been a contender" speech is so fantastically good, I now understand why it's quoted by everyone trying to be a good actor. Eva Marie Saint is really good. The story is very intriguing and its really a great drama.
My one criticism of this movie is that some of the union scenes were kind of boring. Brando and his brother and his girlfriend, all that stuff was super interesting, the priest and the union, were less so.
Had been anticipating this for a long time especially after watching the "Listen to me, Brando" documentary.
Brando had his charisma as always and although I disagree with some of his arrogance through the years, you can't knock him. I bet he pissed off alot of actors who went to dramas schools reciting Shakespeare out their arse waiting for their big breaks. He takes it back to basics and for that I like him.
The first hour really was quite dull. Reminded me of the pain I had when I watched "The Birds". Didn't get anything from the love interest in this film either, did not find it necessary in the slightest. However the last 40 really picked up the pace. I feel this is an attribute most 50s films had.
Great ending and powerful. So for that I give it a 6. I just wish the first half intrigued me as much as the last.
Na época, unha peli grande (cine del bueno). Con curas bueniiiisimls que defendenntraballadores enfrontandose directamente coa mafia. Brando mal, moi chulo, e desleixado, perguiceiro, só ao final se encende algo para xustificar toda a vagancia anterior. Malden ben, na súa liña de home duro co peso dos anos vividos como mellor arma. O detalle do cigarrillo dobrado, gustame, dalle mais realidade.
The director, Elia Kazan, and the writer, Budd Schulberg, start out to expose racketeering in the waterfront unions, and wind up trying to make the melodrama transcend itself. They fail, but the production took eight Academy Awards anyway, and most of them were deserved. It is one of the most powerful American movies of the 50s, and few movies caused so much talk, excitement, and dissension--largely because of Marlon Brando's performance as the inarticulate, instinctively alienated bum, Terry Malloy. Some of Brando's scenes, such as his having a beer with Eva Marie Saint in a bar and his conversation with Rod Steiger in a car, have real vibration. (The latter one has been imitated to the point of notoriety.) The…
Marlon Brando es un actor de muchos matices, de muchas capas superpuestas que dan una complejidad inaudita a los personajes que interpreta en la gran pantalla.
Aquí, veremos a un Terry Malloy que tras perder la oportunidad de ser un boxeador exitoso se las verá trabajando de arrendador para los jefes mafiosos de los muelles, por culpa de verse afectado por las malas decisiones del pasado. En este marco, se verá envuelto de forma inesperada en el asesinato de un honrado trabajador, Joey Doyle; sospechoso de querer transmitir al comité de investigación la injusta situación de la comunidad de arrendadores.
Esto le hará desconfiar de sí mismo y querer encontrar el camino para cambiar las cosas. En ello contribuirá la…
Even though the surface level conflict of longshoremen might not be relevant anymore, the movie's underlying message, about doing the right thing, still resonated with me. I thought this movie had strong writing, making you understand the points of both sides to a certain extent. Marlon Brando was perfect here, exuding the fragility and broken spirit of his character flawlessly. Yeah, I get why this is so revered.
P.S. - I want all the jackets Brando's wearing in this
P.P.S - the song in the "I coulda been a contender" scene :(
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…