On The Waterfront

Anna Rodriguez

Mrs. Burgess

Enriched English 10

November 26, 2007

On the Waterfront

On the Waterfront, directed by Elia Kazan, is an action-filled and thought-provoking film. As the drama unfolds, the writers effectively build suspense as Joey Doyle’s death is investigated and tensions escalate within the mob. The action starts right in the first scene as Terry lures Joey Doyle to the roof to be killed by the mob members, and it does not stop until the screen goes black and the credits begin to roll. The film centers on Terry’s inner struggle--whether he should speak up against the mob, or keep his mouth shut, and in turn, hold on to his high-ranking status as part of the mob. With Edie’s urging, coupled with Father Barry’s advice and the murder of his brother Charley, Terry decides to speak out in court about the corruption that is occurring on the waterfront. In the film On the Waterfront, Kazan successfully depicts a riveting tale of one man’s struggle to take a stand against something he knows is unethical and wrong.

Some of the effective literary aspects in the film are the setting, theme, and symbolism. For example, many parts of the film are set on the rooftops of New York City. This is the where Terry comes to care for the pigeons, and just to think. The fact that Terry chooses this space to think and reflect shows that the roof, with its view of the entire city, serves as a getaway for him. He is able to, literally, be above all of the chaos in his life. It seems as if nothing can touch him there—he is free to think in peace. A second literary aspect that enhances the film is the theme. The central theme is focused on the struggle for good over evil, right over wrong. Terry, the protagonist, exemplifies this theme perfectly as he decides whether or not to stand up to his corrupt mob boss, Johnny Friendly. In the beginning of the film, Terry is a member of Johnny’s mob; he even participates in the set-up murder of Joey Doyle. The reason Joey is murdered is because he was about to “talk”, or share the truth about the mob with the Crime Commission. When Terry is later subpoenaed to do the same—share his account of what is really occurring on the docks—he at first refuses to talk, fearing the wrath of Johnny and the mob. This clearly demonstrates Terry’s belief that his own interests are above those of the other dock workers. He does not consider whether or not this is right or wrong, he only considers the fact that his life will be at risk if he testifies against Johnny. However, after meeting Joey’s sister Edie and confessing to Father Barry, Terry’s feelings change. Instead of keeping his mouth shut, he decides to expose the corruption on the docks at the hearing. The tide changes and Terry’s moral convictions lead him to do the right thing—good triumphs over evil. The final literary aspect that is used effectively in the film is symbolism. The main symbol utilized in the film is the hook that Terry carries as he slowly walks past of all of the dock workers and leads them in to work. The hook represents Terry’s “cross to bear”—the fact that he was the only one courageous enough to stand up against Johnny is both a blessing and a curse. He must now live with the wrath of Johnny and the other mob members upon his shoulders. The weight of his decision and its effects are signified by the hook. Kazan’s use of setting, theme, and symbolism enhance the film and make it much more exciting to watch.

The acting and lighting, two of the dramatic aspects of the film, were outstanding as well. Three of the actors who give quality performances are Marlon Brando, Karl Malden, and Eva Marie Saint. Marlon Brando portrays the protagonist, Terry Malloy and his image is perfectly aligned with his character’s personality. Brando’s slow drawl combined with his New York accent draw attention to the fact that Terry is not an educated man. Brando has a casual tone that makes him seem slow and somewhat dim-witted, which is true to his character, Terry. Brando also succeeds in portraying a man who has a good heart, but a “tough guy” exterior. Karl Malden is cast as Father Barry, the church pastor and motivator. He successfully portrays the fiery personality of Father Barry through his blazing eyes, enthused tone, and motivating speeches. Malden presents a passionate man with strong moral convictions in his performance as Father Barry. Eva Marie Saint plays Edie Doyle, Joey’s sister. Edie is a delicate woman in many ways, which Saint conveys through her composure and sometimes ignorance of the way things work on the docks. However, Edie is in many ways strong and smart as well. Saint presents a woman with a strong sense of right vs. wrong as she fights to discover the truth about her brother’s death. The use of lighting was exceptional as well. The scenes centered on the mob and the crimes they commit are dark and gloomy. This adds to the mysterious and clandestine nature of the mob’s work. However, the scenes involving Edie are filled with light. Eva Marie Saint’s hair is white-blonde, so she immediately brings light to the scenes. Edie represents everything that is “right” and “good” in the film, and the lighting certainly enhances this appearance. Both the acting and the lighting choices distinguish the film and enhance its overall effectiveness.

The cinematic aspects, such as high-angle shots, low-angle shots, and sound, are unrivaled in this film. An example of a high-angle shot is found in Terry and Edie’s discussion on the rooftops. Edie stands above Terry and we see him through her eyes in a high-angle shot. This gives the audience the sense that Edie is out of Terry’s league. In a different instance, a low-angle shot is used to signify the power of the mob. As Terry calls up to Joey Doyle from the street, we see some members of the mob standing on the roof. The low-angle shot gives them a powerful, somewhat mysterious feel. It is obvious that the mob is in control and Terry is not an important member yet. He is clearly at the bottom of the totem poll within the mob. The music, compliments of Leonard Bernstein, is excellent in this film. The score is thrilling; it enhances and compliments every scene. For example, the music is heart-pounding, loud, and climatic during the workers’ fight for work chips. The music adds to the chaotic feel of the battle that occurs within the workers. It also shows their desperation for work, because each day they go without a work chip is a day without pay. The cinematography and sound are a strong point in this film and add to its appeal.

Many comparisons can be drawn between On the Waterfront and Arthur Miller’s play, All My Sons. Terry Doyle and Joe Keller encounter similar experiences, but they react differently to their individual situations. Both Terry and Keller are faced with a moral decision—they know that something unethical and wrong is occurring, but they each fear for their jobs too much to stop it. However, Keller lets this fear completely overpower his sense of right and wrong and allows the cracked cylinders to be sent out. He even goes as far as to place the blame on Steve Deever in order to save himself. Terry Doyle, on the other hand, makes a different choice. He follows his moral convictions and stands up against the corrupt mob boss, Johnny Friendly. Thanks to his brave actions, the waterfront community is freed from the corruption of the mob. Terry and Keller, although faced with similar decisions, make very different choices. Terry makes the courageous decision to stand up against what he knows to be wrong. This resolution distinguishes him as the better man, as opposed to Keller, who passes the blame away to Deever in order to save himself.

I would recommend this film in a heartbeat—its thrilling plot combined with the excellent acting and outstanding cinematography make it a must-see film. This film allows one to get caught up in Terry’s struggle, lose oneself in the love story between Terry and Edie, or marvel at the excellent score. The plot is engaging, the acting is phenomenal, and the camerawork is of very high caliber. Terry’s moral dilemma that lies at the center of the film sparks good discussion and debate as well. Due to the compilation of the complex plot, superb acting, unique score, and quality of the cinematography, this film is engaging and thought-provoking—a classic.