An indisputable contender for classic status, from the first moment when the Columbia lady appears and a mournful note like a ship's horn starts off Leonard Bernstein's austere, almost grudging score. Essentially a Fifties film noir on steroids, the acting, direction, script, photography and music combine to make it one of the most powerful dramas ever produced by Hollywood.
It serves first of all as a star vehicle for Marlon Brando (following on from the immense impact he made in A Streetcar Named Desire). I first saw On the Waterfront on television when I was 17 and was mesmerized by his performance. The heart-felt passion he conveys when he pleads to Eve Marie Saint 'I got all my life to drink beer...' and of course his unforgettable 'I coulda been a contender..' speech in the back of the taxi-cab with Rod Steiger as Bernstein's music wells up in the background. But Steiger, Karl Malden and especially Lee J Cobb as the corrupt union organiser Johnny Friendly ('They're dusting off the hot-seat for me!') are just as superb.
Brando's Method-driven performance is often held up as key to why the film is a landmark in the move towards realism in American cinema. But the extensive location shooting is also striking. After the success of The Naked City (1946), Hollywood was more confident about shooting in real streets, and here Boris Kaufman's photography adds immeasurably to enhancing the authenticity of the story. As backdrop to this compelling drama, you can almost feel the raw, freezing Hoboken air at the pier or on the slum tenement rooftops that are already sprouting television aerials. The film would have lost half its power if it had been shot in a Los Angeles studio, no matter how noir-ish the lighting.
Undoubtedly this is one of the greatest American films of all times.
It serves first of all as a star vehicle for Marlon Brando (following on from the immense impact he made in A Streetcar Named Desire). I first saw On the Waterfront on television when I was 17 and was mesmerized by his performance. The heart-felt passion he conveys when he pleads to Eve Marie Saint 'I got all my life to drink beer...' and of course his unforgettable 'I coulda been a contender..' speech in the back of the taxi-cab with Rod Steiger as Bernstein's music wells up in the background. But Steiger, Karl Malden and especially Lee J Cobb as the corrupt union organiser Johnny Friendly ('They're dusting off the hot-seat for me!') are just as superb.
Brando's Method-driven performance is often held up as key to why the film is a landmark in the move towards realism in American cinema. But the extensive location shooting is also striking. After the success of The Naked City (1946), Hollywood was more confident about shooting in real streets, and here Boris Kaufman's photography adds immeasurably to enhancing the authenticity of the story. As backdrop to this compelling drama, you can almost feel the raw, freezing Hoboken air at the pier or on the slum tenement rooftops that are already sprouting television aerials. The film would have lost half its power if it had been shot in a Los Angeles studio, no matter how noir-ish the lighting.
Undoubtedly this is one of the greatest American films of all times.
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