More than seven decades after its initial release, if a film can captivate and engross its audience from start to finish and leave them thinking about and appreciating the filmmaking craft, then it’s hard to argue it isn’t one of the greatest movies of all time. Elia Kazan’s On the Waterfront is one such film. It remains one of the finest gangster films ever made and a cinematic milestone distinguished by its emotional honesty, its unflinching portrait of corruption, and unforgettable performances.
Based on Malcolm Johnson’s “Crimes of the Waterfront” series of articles published in the New York Sun from November to December 1948, the film follows Terry Malloy (Marlon Brando), a once-promising fighter who now works as an errand boy for a powerful union boss, Johnny Friendly (Lee J. Cobb), for whom Terry’s brother, Charlie (Rod Steiger), works as Friendly’s right-hand man. When Terry inadvertently participates in the murder of a longshoreman who was about to testify against Friendly’s corruption and holdover on the Hoboken waterfront before the Waterfront Crime Commission, he feels guilty. As a result, he meets with the deceased man’s sister, Edie Doyle (Eva Marie Saint), who, along with the priest, Father Barry (Karl Malden), is trying to inspire the dockworkers to stand up against Friendly. Terry falls for Edie, reassesses his past, and decides to accept responsibility for his actions.
On the Waterfront is largely a character-driven drama predominantly told from Terry’s point of view. Hence, it is important to understand Terry’s character, which is exceptionally written, in detail. Terry Malloy isn’t introduced as a hero. He’s a former boxer drifting through life, taking orders from people he trusts without stopping to question where those choices are leading him. His loyalty to Charley and Johnny Friendly runs deep, but it is beginning to weigh on him. What makes Terry so compelling is the silent struggle within himself, as he realizes that the life he has accepted is no longer one he can live with. He was once a promising boxer who could have had a lucrative future in wrestling. But his career was sabotaged by his brother and Johnny (who forced him to lose a fight for money), turning him into a guilt-ridden passive individual who has now resigned himself to mediocrity as a dockworker. However, when Edie comes into his life, his character arc changes.
Terry’s relationship with Edie forms the film’s emotional anchor. In a world of violence and betrayal, Edie sees something good in Terry, and they share some genuinely sweet and tender moments, including the famous playground scene or the one in which they drink beer together. Their chemistry is sincere and convincing, providing warmth and a rare ray of hope in an otherwise corrupt and cruel world. However, Edie’s character is more than just Terry’s love interest. She acts as his moral catalyst and conscience. She is a strong, individualistic woman of integrity who is grieving her brother’s loss and wants justice at all costs. Through her relationship with Terry, she plays an important role in transforming his passive, self-serving, mind-your-own-business mentality into someone who will bravely stand up to corruption, pushing him towards redemption, humanizing him, and giving him a purpose worth fighting for. Instead of being a one-dimensional love interest, she plays a significant part in the film, especially in evolving Terry’s character arc.
The film’s setting, the working-class docks of Hoboken, New Jersey, is critical in giving it an authentic, gritty feel, as the setting itself becomes a character, with cold, damp places like industrial docks, warehouses, and tenement buildings giving a sense of hopelessness where there is no chance of living a good life or progressing and finding happiness. It becomes a symbol of oppression, exploitation, and moral decay. Kazan directs with remarkable precision and realism, preferring to shoot in real locations in Hoboken (the entire crew was actually afraid to shoot there because powerful union figures controlled the area). Boris Kaufman’s stark black-and-white cinematography gives the film a raw, visceral, and timeless quality. Also, the score by Leonard Bernstein (the maestro), who composed music for only one film in his life, adds emotional depth, with its haunting main theme lingering in your mind long after the credits roll.
On the Waterfront delves into themes of exploitation and union corruption, as Johnny uses his power to exploit workers through brutality, extortion, and control. It also explores guilt and moral conscience through Terry’s journey, culminating in his courageous stand against corruption and institutional power. Marlon Brando’s performance as Terry Malloy is nothing short of monumental. It remains one of the greatest and most influential acting achievements in cinema, belonging in the same pantheon as Robert De Niro in Taxi Driver (1976), Daniel Day-Lewis in There Will Be Blood (2007), Isabelle Adjani in Possession (1981), Isabelle Huppert in The Piano Teacher (2001), and Denzel Washington in Training Day (2001), among others. His performance popularized the method acting technique, which is still widely taught and practiced today.
Brando brilliantly captures his character’s inner conflict and struggles, as he grapples with guilt, loyalty, and conscience. The iconic “I could have been a contender” scene between Terry and Charley in the back of the car is one of the film’s most heartbreaking moments, perfectly capturing Terry’s vulnerability, regrets, and shattered dreams. Brando delivers the scene with utmost honesty, intensity, and raw emotion. Eva Marie Saint, on the other hand, is resolute and brings integrity and quiet strength to her role, while Karl Malden gives a strong and convincing performance as Father Barry. Finally, Lee J. Cobb is indelible as the unscrupulous Johnny Friendly, who exudes corruption and intimidation with chilling authority. On the Waterfront is a timeless masterpiece that exhibits the highest level of filmmaking.
On the Waterfront Movie Links: Letterboxd, IMDB, Wikipedia
For more movie reviews and recommendations, visit our homepage
1970s 2023 Action Adventure alfred hitchcock black and white classic movies classics comedy Crime criterion collection denzel washington Drama free movies on youtube Gangster Giallo great films Horror indian movies Japanese films lucio fulci Neo noir netflix netflix movies new movies new releases Noir Period Drama police procedural Psychological thriller Revenge reviews ridley scott Sam raimi Sci-Fi Sci fi stanley kubrick supernatural suspense The Genre Junkie Thriller toshiro mifune war Westerns whodunit