Review of On the Waterfront (1954) by Maxwell S — 02 Nov 2012

"On the Waterfront" is a triple layered film. The first layer is the bare story/objective (that every film has), the second layer is the sub-concious of the film (where character study, cinematography, philosophical standpoints, etc.), and the third and largest layer is the films technical advancements. The reason why this film, for me, is one of the top 5 most brilliant (not favorite) films ever made ("Citizen Kane" being the only other American one) is because it all has such full and understanding lines of logic from each type of character (not to say each person in that type is the same of one another), and Kazan takes these logics from these great characters and places them into a story in which they can intermingle in a fluent and creative way. Which, that premise is already enough to make this film a masterpiece. People mistake this film as a "Hollywood film done right", but it takes these great, bold actors/actresses and techniques (most more original than others) and translates it into a parallel spectrum, where it can expand further than just a masterful "Hollywood film." Now, if you're with me, you can already understand my admiration for "On The Waterfront". There is much more to this film than all that technical stuff, there are the scenes. Kazan / Schulberg don't take the easy way out of this film. There are some tremendous scenes, where Brando really reaches beyond himself, where the film simply could've done that scene and just sprinted the last 50 meters and be home-free, but it pushes itself beyond that. It doesn't just let the electrifying elements wither down until it can't anymore, it wants it's powers in full-affect each second. *Spoiler* Such as the scene where Brando lets out about Friendly and goes onto the roof and the kid killed each and every pigeon. Then Edie comes up to see him. It could've taken the short way, and really used the power from that scene, and done something else just to end it quicker. But it doesn't stop, it keeps cranking out the powerful, electrifying scenes one after the other...

The first time I watched this, I noticed all of the technical stuff (I was closer to the 3rd layer, if you will), but after a month, I watched it again, not quite baring all of it's technicalities in my head, and truly felt the film. "On The Waterfront is an exercise in brilliance and emotion, almost too much to bare at one time.