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…
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.…
**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.…
Pre 70s month film #1
Marlon Brando gives what is honestly one of the best performances I have ever seen.
Good film. Well made, with some really good aspects like Marlon Brando's acting. Some flaws though, especially the film being a tad dry sometimes.
The movie to end all movies. Kazan's masterpiece straddles an important message, a variety of genres, and committed performances. It might be the best movie ever. It's certainly a favorite of mine.
The script is so tight, the ensemble is so good, Brando is iconic.
This review reportedly contains spoilers. I can handle the truth.
At least two years too early for the kids (9 and 11) - though I still think they could in theory connect emotionally with the movie, there were too many obstacles. For one, Brando's anti-hero posed a problem. For example, in the scene where Terry breaks down Edie's door, drunk, and approaches her even though she keeps screaming "Stay away from me!" and the scene ends in a passionate kiss between the two of them: it's a lot to expect of a kid to sort out that Terry can be sympathetic but still a brute, and that Edie can love him in his brutishness while still respecting herself. And I hadn't reckoned on how the dialogue gets a lot of its snap from period lingo and slang that confused the kids.
Everything about this film is magnificent, and Brando's performance is one for the ages.
Crazy how the first two acts are a tender romance/character study with solid religous/philosophical themes; and then it turns into some unrealistic, melodramatic, political horseshit. The music, the use of it, and the volume of it are all horrific. My rating is only this high because thru the first two acts, I thought this might be one of my new favorite movies. Real characters, great writing, the best acting. Brando makes everyone around him better, and changed acting forever and for the better.
"The best acting, the most useful type of performance, isn’t large. It’s not dynamic in scale. Brando’s performance isn’t, as hyperbolic investigators might rush to describe certain other milestone movie performances, “larger-than-life.” Brando’s performance of Terry Malloy is life."
Every film that has ever been nominated for an Academy Award in any category. Enjoy!