On the Waterfront (1954)

 Terry Malloy (Marlon Brando) once dreamed about being a prizefighter but instead works for Johnny Friendly, a corrupt boss at the dockers union. After Terry inadvertently participates in the death of Joey Doyle, he begins to rethink his life when he begins having feelings for Doyle’s grieving sister Edie. Edie and Father Berry (Karl Malden) help Terry to see that he’s capable of more than the life he has created for himself, and Terry’s loyalty to his tight-knit but criminal family is tested as Terry finds himself the symbol and leader of union labor rights.

It's nice to be back to blogging with the oldies.  Don't get me wrong!  Tim and I totally enjoyed writing about the Oscars nominees but it's kind of fun to get back to the fifties. On the Waterfront was a great film.  I had never seen it before and thought it was about wrestling.  But I was very wrong.  The movie has an excellent script.  The last fifteen minutes alone were so suspenseful.  It also leaves you feeling uplifted, like any man, regardless of his station in life can make a difference.  Very powerful.  Brando's performance was outstanding.   Brando's character was a very lonely person (before the dame) and took care of his uncle's pigeons.  When the pigeons (spoiler) get killed, he cries more over them more then a person which he inadvertently killed.  The movie to beat On the Waterfront for glorification of pigeons is, of course, Mary Poppins with the "Feed the Birds" song.  There are so many birds... why pigeons?

Marlon Brando’s name seems to be a sacred word when discussing acting and it’s easy to see why after his earthshaking performances in this and A Streetcar Named Desire (also directed by Elia Kazan). I first saw On the Waterfront after tracking down several Brando films after seeing The Godfather for the first time when I was about 12, and it’s easily one of my favorite Best Picture winners so far. Leonard Bernstein composes a rare film score which elevates the drama with its kinetic energy, even if it occasionally overpowers the onscreen action. There’s a lot of suspense and power to this film; the concluding fight and Brando’s walk to the “finish line” rivals the ending of films like Rocky in crowd-pleasing relief. Terry is a great character that undergoes a fascinating and extensive evolution, resulting in a character and a cause that the audience can really root for. Despite a controversial personal life, Kazan was an accomplished filmmaker that may have never reached higher heights than On the Waterfront. The Criterion Collection just re-released this film, making it a perfect time to experience it for yourself (and meaning I have to buy it again… damn). 

Sam Spiegel forgot to pay for rear-projection equipment, hence the reason why the cab where Marlon Brando and Rod Steiger play out the film's most famous scene has blinds.

Terry: 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. It was you, Charley.