Elia Kazan's On The Waterfront, an Academy Award winner, unsurprisingly takes a negative stance on the Longshoreman's Union, given Kazan's right-wing leanings and past actions before the House Unamerican Activities Committee. This bias is evident in Kazan's portrayal of the union boss, played by Lee J. Cobb, loosely based on Harry Bridges. However, Kazan's depiction of Friendly as a one-dimensional villain devoid of any complexity or redeeming qualities is a simplistic and shallow approach, devoid of the necessary political context that would have added depth to the narrative.
Kazan's failure to delve into the political intricacies surrounding the union and its connections, particularly to the Communist party, strips the film of its potential as a nuanced exploration of power dynamics and corruption. Instead, it regresses into a melodramatic caricature, reminiscent of 1930s mobster movies, lacking the depth and realism needed to make a meaningful commentary on the subject matter.
The constraints imposed by political pressures, notably from figures like J. Edgar Hoover, likely limited Kazan's ability to present Friendly in a more nuanced light. This limitation hampers the film's ability to engage with the complexities of union politics and corruption, reducing it to a mere clash between good and evil without acknowledging the shades of gray inherent in such narratives.
Setting aside the film's lack of political depth, one can discern its central theme, a struggle against unchecked tyranny. Marlon Brando's portrayal of Terry Malloy, a former boxer entangled in a web of corruption, resonates with viewers. Malloy's brother, Charley (Rod Steiger), serves as the right-hand man to mob boss Friendly, highlighting Malloy's role as a loyal follower who unquestioningly executes orders without scrutinizing their moral implications. This blind loyalty is evident when Malloy naively believes that his mob associates intended only to intimidate fellow worker Joey Doyle, rather than orchestrate his fatal fall from a rooftop.
Terry's life takes a dramatic turn when he develops feelings for Edie (Eva Marie Saint), the sister of Joey Doyle, whose death deeply affects Terry. Meanwhile, Father Barry (Karl Malden), the local parish priest, takes a bold stand against corruption by organizing a meeting to encourage workers to testify against Friendly in front of the Waterfront Crime Commission. However, this noble effort is thwarted when Friendly's thugs disrupt the meeting. Despite the chaos, Terry aids Edie in escaping the violence. Unbeknownst to Terry, Father Barry's persuasive efforts lead to one worker agreeing to testify, only to meet a tragic end the following day in what appears to be a staged workplace "accident."
In a pivotal and iconic scene, Terry musters the courage to confess to Edie the truth about his involvement in her brother's murder. However, just as he is about to reveal the details, a train whistle interrupts, symbolizing Terry's naivety and the pervasive influence of the mob that prevents Edie from hearing his full confession. This moment underscores Terry's internal conflict and the barriers he faces in breaking free from the grip of organized crime.
In a harrowing turn of events during the second act, Terry defies his brother's plea to remain silent and agrees to testify against Friendly. However, this decision proves fatal for Charley, as Terry discovers his brother's lifeless body, gruesomely hung by a meat hook on a street corner-an ominous warning from the mob about the consequences of betrayal.
Amidst the turmoil, Father Barry emerges as a guiding moral force, preventing Terry from seeking revenge on Friendly and persuading him to take a stand by testifying before the Waterfront Commission. This pivotal moment showcases Father Barry's unwavering commitment to justice and Terry's transformative journey from reluctant accomplice to courageous whistleblower.
The climax of On The Waterfront intensifies as Terry, despite showing up for work, is conspicuously left out when others are called. Undeterred, he boldly confronts Friendly at his waterfront headquarters, provoking a violent confrontation. In a cowardly move, Friendly orders his men to mercilessly beat Terry.
However, in a somewhat fantastical and improbable turn of events, the workers, inspired by Terry's courage, overcome their fear of the mob and rally behind him. They urge Terry to lead them back to work, a symbolic defiance against intimidation and corruption. Despite the recent brutal assault, Terry, now a symbol of resistance, accepts their call and leads the workers into the work site, embodying a newfound strength and determination against all odds.
The sudden courage and revolt of the workers in On The Waterfront raise questions about the narrative's plausibility. While Friendly's thugs still wield considerable power to retaliate, Terry's testimony likely instills a sense of hope and empowerment among the workers. They may believe that exposing Friendly's corruption through Terry's testimony will lead to his downfall and weaken the grip of the mob on their lives and livelihoods. However, given the pervasive corruption in government and the complexities of justice, the possibility remains that Friendly could escape accountability.
Despite these narrative considerations, the performances in the film are commendable, with Marlon Brando's portrayal of Terry standing out. His character's evolution from a passive follower to a conscience-stricken individual resonates with audiences, adding depth and emotional resonance to the storyline. Brando's performance anchors the film, highlighting the internal struggles and moral dilemmas faced by the characters amidst a backdrop of corruption and power dynamics.
Kazan's failure to delve into the political intricacies surrounding the union and its connections, particularly to the Communist party, strips the film of its potential as a nuanced exploration of power dynamics and corruption. Instead, it regresses into a melodramatic caricature, reminiscent of 1930s mobster movies, lacking the depth and realism needed to make a meaningful commentary on the subject matter.
The constraints imposed by political pressures, notably from figures like J. Edgar Hoover, likely limited Kazan's ability to present Friendly in a more nuanced light. This limitation hampers the film's ability to engage with the complexities of union politics and corruption, reducing it to a mere clash between good and evil without acknowledging the shades of gray inherent in such narratives.
Setting aside the film's lack of political depth, one can discern its central theme, a struggle against unchecked tyranny. Marlon Brando's portrayal of Terry Malloy, a former boxer entangled in a web of corruption, resonates with viewers. Malloy's brother, Charley (Rod Steiger), serves as the right-hand man to mob boss Friendly, highlighting Malloy's role as a loyal follower who unquestioningly executes orders without scrutinizing their moral implications. This blind loyalty is evident when Malloy naively believes that his mob associates intended only to intimidate fellow worker Joey Doyle, rather than orchestrate his fatal fall from a rooftop.
Terry's life takes a dramatic turn when he develops feelings for Edie (Eva Marie Saint), the sister of Joey Doyle, whose death deeply affects Terry. Meanwhile, Father Barry (Karl Malden), the local parish priest, takes a bold stand against corruption by organizing a meeting to encourage workers to testify against Friendly in front of the Waterfront Crime Commission. However, this noble effort is thwarted when Friendly's thugs disrupt the meeting. Despite the chaos, Terry aids Edie in escaping the violence. Unbeknownst to Terry, Father Barry's persuasive efforts lead to one worker agreeing to testify, only to meet a tragic end the following day in what appears to be a staged workplace "accident."
In a pivotal and iconic scene, Terry musters the courage to confess to Edie the truth about his involvement in her brother's murder. However, just as he is about to reveal the details, a train whistle interrupts, symbolizing Terry's naivety and the pervasive influence of the mob that prevents Edie from hearing his full confession. This moment underscores Terry's internal conflict and the barriers he faces in breaking free from the grip of organized crime.
In a harrowing turn of events during the second act, Terry defies his brother's plea to remain silent and agrees to testify against Friendly. However, this decision proves fatal for Charley, as Terry discovers his brother's lifeless body, gruesomely hung by a meat hook on a street corner-an ominous warning from the mob about the consequences of betrayal.
Amidst the turmoil, Father Barry emerges as a guiding moral force, preventing Terry from seeking revenge on Friendly and persuading him to take a stand by testifying before the Waterfront Commission. This pivotal moment showcases Father Barry's unwavering commitment to justice and Terry's transformative journey from reluctant accomplice to courageous whistleblower.
The climax of On The Waterfront intensifies as Terry, despite showing up for work, is conspicuously left out when others are called. Undeterred, he boldly confronts Friendly at his waterfront headquarters, provoking a violent confrontation. In a cowardly move, Friendly orders his men to mercilessly beat Terry.
However, in a somewhat fantastical and improbable turn of events, the workers, inspired by Terry's courage, overcome their fear of the mob and rally behind him. They urge Terry to lead them back to work, a symbolic defiance against intimidation and corruption. Despite the recent brutal assault, Terry, now a symbol of resistance, accepts their call and leads the workers into the work site, embodying a newfound strength and determination against all odds.
The sudden courage and revolt of the workers in On The Waterfront raise questions about the narrative's plausibility. While Friendly's thugs still wield considerable power to retaliate, Terry's testimony likely instills a sense of hope and empowerment among the workers. They may believe that exposing Friendly's corruption through Terry's testimony will lead to his downfall and weaken the grip of the mob on their lives and livelihoods. However, given the pervasive corruption in government and the complexities of justice, the possibility remains that Friendly could escape accountability.
Despite these narrative considerations, the performances in the film are commendable, with Marlon Brando's portrayal of Terry standing out. His character's evolution from a passive follower to a conscience-stricken individual resonates with audiences, adding depth and emotional resonance to the storyline. Brando's performance anchors the film, highlighting the internal struggles and moral dilemmas faced by the characters amidst a backdrop of corruption and power dynamics.