Lou is a small time gangster, who thinks he used to be something big. He meets up with a younger girl, Sally, who is learning to be a croupier. Her husband turns up with drugs he has stolen... See full summary »
When two poor greasers, Johnny, and Ponyboy are assaulted by a vicious gang, the socs, and Johnny kills one of the attackers, tension begins to mount between the two rival gangs, setting off a turbulent chain of events.
Francis Ford Coppola
C. Thomas Howell,
This movie is a stark portrayal of life among a group of heroin addicts who hang out in "Needle Park" in New York City. Played against this setting is a low-key love story between Bobby, a ... See full summary »
Pépé le Moko is a gangster from Paris that hides in Algier's Casbah. In the Casbah, he is safe and is able to elude the police's attempts to capture him. But he misses his freedom, after ... See full summary »
Terry Malloy dreams about being a prize fighter, while tending his pigeons and running errands at the docks for Johnny Friendly, the corrupt boss of the dockers union. Terry witnesses a murder by two of Johnny's thugs, and later meets the dead man's sister and feels responsible for his death. She introduces him to Father Barry, who tries to force him to provide information for the courts that will smash the dock racketeers. Written by
Colin Tinto <email@example.com>
The film was shot by Elia Kazan at the aspect ratio of 1.37:1. It was originally offered to 20th Century Fox by Kazan, but was turned down by Darryl F. Zanuck because the film was shot in black & white and in the academy ratio of 1.37. Fox at the time was big into Cinemascope wide screen pictures. The film may have been exhibited in a few theaters at 1.66 or even 1.85, but was shot, and exhibited, in 1954, at 1.37:1. See more »
The framed photo of Lee J. Cobb as Johnny Friendly glad-handing an unidentified politician or mobster shows up both in the Longshoreman's Union headquarters on the docks and also in the Friendly bar, when Terry Malloy throws his gun at and breaks. See more »
You take it from here, Slugger.
See more »
Opening credits are shown over a bamboo-type mat background. See more »
Back in the early 1950's, after a movie had run its course at the theaters, it did not go to video. Nor did it go on prime-time TV, as that concept came up many years later. Instead, they put it on afternoon TV, sometimes around dinner time. Well, that's when I'd come home from high school, and got to enjoy free black and white classics such as "High Noon" and "On the Waterfront".
It made a moviefan of me for life. I remember the effect of "On the Waterfront", as I remember thinking about Terry Malloy in that final scene, "Wow, that guy's got guts! I wish I could be like him." Being just a typical Midwestern teen, I didn't know who Marlon Brando was, but I just was fascinated by this life of these good and bad people, on the tops of buildings and in the cold, wet streets and alleys of this far-away place near the waterfront.
Now, every time I watch it, years later, I still love it. Yes, there is definitely an attempt to make Terry into a Christ-figure at the end. That's no coincidence that he stumbles from having been beaten to a pulp, to walk and carry a hook on his shoulders, to lead others to a better life. (In the book by Budd Schulberg, by the way, Terry disappears after testifying and what is thought to be his body is found floating in a barrel of lime. But he has become a legend on the waterfront.) I love the powerful Elmer Bernstein score (glaring for our present tastes, but back then, exactly what people expected to hear during a drama -- you've got to wonder what a future generation will say about the constant replays of fairly irrelevant pop and rap songs as themes during most movies today, dramatic or comedy).
And being raised in a Catholic home, I found Father Barry to be a great dramatic figure, one of the only times I saw a priest portrayed as a gritty, brave, heroic person, not afraid to mix it up with the common folks in the parish. He smoked, drank and slugged it out. And he was not afraid to die for the right reason. Folks, that's true Christianity at work. And that's powerful.
A classic. A must-see. 10/10
100 of 150 people found this review helpful.
Was this review helpful to you?