Frank Ocean’s list of his 100 favorite films, as published in “Boys Don’t Cry” on the release of his album,…
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…
I'm not normally someone who comes into these overwhelmingly lauded and popular films and feels the weight of the world on his shoulders wondering what will happen to his lofty reputation in the amateur film reviewing community if he doesn't like it so much.
But I kind of did with On The Waterfront. Perhaps mostly because of the kind of film it is and because of its cast. Crime drama with shades of noir? A treasure trove of character actors on board? A grim adhesion to the rooftops of New York City? There was the feeling that if I didn't love this one that everything I thought I knew about myself and my filmwatching background would be smashed to pieces.…
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…
Kazan's cinematic tricks don't always convince, and yet it's an impressive and powerful work. Brando is particularly great here.
קזאן לא לגמרי משכנע בטריקים הקולנועיים שלו, שמקצתם מרגיש מעט מגוחך היום, אבל בסך הכל מדובר בעבודה קולנועית מרשימה ורבת עוצמה. ברנדו עושה עוד תפקיד גדול, ששורף את המסך. והעוצמות הרגשיות של הסיפור מטלטלות עד היום.
Terry Malloy (Marlon Brando) é um rapaz que vive na zona portuária de Nova Iorque, e trabalha de maneira polivalente, como “pau para toda a obra”, por conta dos gangsters que controlam os sindicatos dos estivadores
A powerful statement against corruption led by a triumphant performance from Marlon Brando.
I don't know what to write here so I hope you like this fun fact.
The taxicab scene between Terry and Charlie was not improvised. Brando did initially improvise during the shooting of the scene, and Rod Steiger followed his lead, but then Elia Kazan yelled, "Stop the shit, Buddy!" to Brando, using his nickname. The two actors stuck to Budd Schulberg's script after that.
PRETTY FUCKING GREAT
Will it be blasphemous on my behalf to call "On the waterfront" the best Orson Welles movie not directed by Orson Welles?
Marlon Brando (as Terry Malloy) Wally Batty and Jack Duckworth the contenders for pigeon fancier of the year.
On The Waterfront has a pretty formidable reputation, as indeed does Brando's performance in it and then of course there's “that” scene, so it's a film that everyone certainly needs to see if just to check it off their list of bona fide masterpieces. The film cemented the arrival of “the method” in American cinema with it's downtrodden mumbling “realistic” people, it also represents the beginning of the end of the kind of Hollywood cinema I love.
Yet another film on the list of shame that has been ticked off. But unfortunately, I didn't love it as much as others would. On the Waterfront, directed by a man of legendary status, Elia Kazan [No seriously, the man is indeed a legend], and written by the equally talented Budd Schulberg, brings together actors Marlon Brando, Eva Marie Saint and Rod Steiger into a world of corruption, extortion and racketeering. I certainly have no problem with the acting, everyone gives it their utmost, high-earning passion to the project; particularly Eva Marie Saint, who I think steals the show. The cinematography is also wonderful. I've never had a problem with how Kazan frames, and with Boris Kaufman wielding the camera;…
I can't really think of anything clever or meaningful but I still wanna get likes
This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…