It's a golden age film! You have champ and contrechamp, not an modernist essay about the nature of time. It's neither good or bad, just the way things were done back then! It's a whole language, a film language...
I don't think that Brando's performance has aged that well. This coming from a person who finds him just as captivating as his legacy suggests. His anger and turmoil with everything is sort of hammy. Though as any Brando / Kazan film, it has its moments. And Lee J. Cobb is always a win. I think he looks like Walt Disney when he rocks the hair piece
Haha. Sal is right about the score. Leonard Bernstein, get off your pedestal and play a dulcimer or something. The performances in this film are a very real and very contemporary. The content is a very modern, persevering message. The music however, sounds like a night at the vaudeville opera. Bernstein mistook the audience for idiots who need blasting horns or violins to spell out any little nuance
On the Waterfront is such a masterpiece that it doesn't even feel like you're watching a movie, let alone one of the greatest ever made. The brilliant cast, superb direction and seemingly effortless writing all make for a textbook example of a timeless classic.
The editing, the soundtrack, everything is based upon a film language developed at the time, it might be quite dated nowadays but sure it wasn't back then. I think it's perfect. Everything. It's a narrative film, a film that survives by its story and the context it abides on. People live, people work, people die and nobody seems to care of how shitty things are. Easy money for some, hard work for others. And goes on
All the right pieces put together in the wrong way -the editing ruins what could have been a great movie.
Those workers getting into the factory at the end, the factory's gate closing behind them, "The End"... They all got to work, but was that a real prize? Was the 'work' the real bittersweet proze of such tough path? Was it all really about a class of working men? The only 'union' at the end was that of Terry's beaten body parts; and he standing up to the world seems to be what the whole process was actually all about.
Rien de mieux qu'un film de Brando. Rien de mieux que Brando qui chique une gomme. Rien de mieux que Brando qui donne un baiser passionnel à une actrice qui joue gros. Rien de mieux que Brando qui fait son "swag" en s'accotant sur quelque chose tout en parlant. Rien de mieux que Brando qui souffre et que tu souffre avec lui. Puis finalement rien de mieux que Brando.
SNITCH BITCH!!! I mean, sorry, but I knew the context of this film before I watched it and it really ruined the fucking story and the character (which is a shame because Brando really gives a great performance). It's not a bad story, but Kazan was stupidly naive to think that were any parallelisms between the character and his actions towards the HUAC. Terry spoke because he wasn't afraid, Kasan spoke because he was.
a great black and white crime film. Brando and Marie Saint are powerful here. there are a few scenes that make my skin chill over and many that make me sad. in fact, all of the acting here was superb and the music added to film greatly. a great classic in cinema that everyone should see
"I'm just a potato eater, but isn't it simple as 1,2,3? one - the working conditions are bad. two- they are bad because the mob does the hiring. three- the only way we can break the mob... is to stop letting them get away with murder."