Review of On the Waterfront (1954) by Clay B — 01 Dec 2010

It must be an issue for every film enthusiast, the relation between film knowledge and film watching. Being aware of the facts and trivia behind films can sometimes influence the watching of a film. Think of how many people refuse to watch Tom Cruise films because of the off screen antics of the actor, or how it is hard to watch Birth of a Nation without being angered by the overt racism in the film. On The Waterfront is one of these films. I am a big fan of Elia Kazan as a director but knowing the facts of the HUAC hearings and the directorâ(TM)s naming of names influence my feelings towards him as a man. That On The Waterfront could be a justification for naming names makes watching the film even harder. It is easy for me to stand back and criticise Kazan for naming names but to validate this through a film by presenting the â~villainsâ(TM) as murderers leaves a bitter taste.

However, in spite of all of this, Kazan has committed to celluloid one of the finest films ever made. Budd Schulbergâ(TM)s script is well detailed, creating interesting and fully realised characters that embody the surroundings and the situation they are faced in. As the film goes on the moral quandaries presented are just thrilling. Kazanâ(TM)s technicalâ(TM)s aid the script beautifully. Shot in stark black and white, the docks, apartments and pool halls are feel smoky and polluted, just as the town is by Johnny Friendly and his gang.

What really makes the film though is Brando. In my opinion Brandoâ(TM)s performance in the film is one of the finest in film history. The actor completely understands the need to underplay. To understand the intelligence of a character and not make judgement on him. Terry Malloy is a simple man. Simple in his attitude, simple in his ways and Brando revels in this. There is an uncertainty and pain in his eyes. He also manages to cover the whole scale of masculinity. From power and strength in his scenes with Friendly to wounded and misunderstood in the eyes of love interest Eva Marie Saint. As impressive as historical portrayals can be, I am always more impressed by an original performance carved and moulded from scratch. For the duration of the film Brando creates a character whom I fully believe in and understand. I feel I know his history and the journey he goes upon during the timeline of the film.