On The Waterfront ('54)

I enjoy Elia Kazan's other works (especially East of Eden), but Kazan always relied heavily on his lead actors. Kazan painted his films in very broad encompassing strokes, and left it up to the lead actor/actress to bring the story down to an empathetic level. I chose this film not because of the film, but because of Marlon Brando.

Brando was one of the few great sensual young actors. Others that come to mind are Paul Newman and Steve McQueen. But those actors still pale in comparison; Paul Newman didn't turn out a truely good performance until Butch Cassidy and The Sundance Kid ('69) and Steve McQueen until The Cincinnati Kid ('65) (or more probably Bullitt in 1968). Both of these actors had been through most of their "hits" already.

But in '54 Brando had just begun; with several previous successes in '51 and '53. In On The Waterfront he creates a diverse sense of empathy for his character. He connects with the audience by specific physical and audiological idiosyncrasies that directly contrast with his imposing physical appearance and tough guy persona. He highlights the internal conflict of toughness/composure vs. vulnerability and empathy for the plight of those surrounding him. It's done with a masterful stroke right on the razor's edge between not enough and over the top.

I don't mind stating that he gives one of the finest performances I've seen on screen here. He handles everything nearly without flaw. And several times rescues scenes from their own ham-handed writing; turning them gem-like. I can honestly say he is at moments (to borrow an over-worn cliche) electrifying.

Also, this film contains what is for me, one of the most gut wrenching scenes in film history. It's a scene that presents both a direct brotherly betrayal and the redemption of that brother through great sacrifice. I won't go into too many details about the plot but when dialogue like this appears on film it just tears me to pieces;

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Charlie: "Look, kid, I - how much you weigh, son? When you weighed one hundred and sixty-eight pounds you were beautiful. You coulda been another Billy Conn, and that skunk we got you for a manager, he brought you along too fast. "

Terry: "It wasn't him, Charley, it was you. Remember that night in the Garden you came down to my dressing room and you said, 'Kid, this ain't your night. We're going for the price on Wilson.' You remember that? 'This ain't your night'! My night! I coulda taken Wilson apart! So what happens? He gets the title shot outdoors on the ballpark and what do I get? A one-way ticket to Palooka-ville! You was my brother, Charley, you shoulda looked out for me a little bit. You shoulda taken care of me just a little bit so I wouldn't have to take them dives for the short-end money. "

Charlie: "Oh I had some bets down for you. You saw some money. "

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. "

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Personally, it's a very terrifying scene and brings me to tears. It's a scene about brotherly failure and eventually redemption.

All that being said; the film ends up resolving into a story of sociopolitical redemption and I find it quite difficult to identify with. I always end up feeling that it short cuts past personal redemption.

I also despise the film's score. I think it's the reason Bernstein only did one film score: he sucked profoundly at it. The score literally covers up the dialogue and action to the point that it's hard to focus in some places. (Though this was fairly typical of a great many films from the 50s.)

The sets are sometimes lacking in both form and fuction and can hinder the believability; you just don't feel the situation sometimes. This is forgivable, but not as much when the director relies so heavily on the situational conflict as Kazan does in this film.

In short; I dislike it as a movie.



Postlude:

Brando had an unusual career. It seems after the Godfather he became so eccentric and quirky that he lost most of his ability to identify with the general public, including me. I recommend his works up to and including that point with very few reservations.

Kudos also go to both Rod Steiger as Brando's brother and Karl Malden as the priest.

Now if the library will finally get my copy of A Streetcar Named Desire in... Wait, they're calling now...