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On the Waterfront (1954)

 -  Crime | Drama  -  22 June 1954 (Japan)
8.3
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Ratings: 8.3/10 from 74,863 users   Metascore: 88/100
Reviews: 256 user | 114 critic | 10 from Metacritic.com

An ex-prize fighter turned longshoreman struggles to stand up to his corrupt union bosses.

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(screenplay), (based upon an original story by), 1 more credit »
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Title: On the Waterfront (1954)

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Top 250 #119 | Won 8 Oscars. Another 21 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
...
Pat Henning ...
Kayo Dugan
...
James Westerfield ...
Tony Galento ...
Tami Mauriello ...
Tillio
John F. Hamilton ...
'Pop' Doyle (as John Hamilton)
John Heldabrand ...
Mott
Rudy Bond ...
Don Blackman ...
Arthur Keegan ...
Abe Simon ...
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Storyline

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 <cst@imdb.com>

Plot Summary | Plot Synopsis

Plot Keywords:

union | murder | longshoreman | dock | pigeon | See more »

Taglines:

A story as warm and moving as GOING MY WAY...but with brass knuckles! See more »

Genres:

Crime | Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

22 June 1954 (Japan)  »

Also Known As:

The Hook  »

Box Office

Budget:

$910,000 (estimated)

Gross:

$9,600,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

According to Marlon Brando's friend, Carlo Fiore, and his reminiscences in his book "Bud: The Brando I Knew", it was Fiore who helped make some key decisions about the famous taxi cab scene. It wasn't working to Brando's satisfaction, and the actor was becoming increasingly frustrated at being unable to find the truth about the scene. Fiore told him that having a gun pulled on him by his brother would hit a bullshit note with Terry, and that shocked disbelief that his brother would do such a thing would be the most appropriate response. Brando then went into a stormy conference with Elia Kazan and Sam Spiegel before nailing the scene. Afterwards Kazan drew Fiore aside and said "Next time you get an idea about a scene, bring it to me, not Marlon, okay?" There is some doubt about the veracity of this story however as one look at the original script reveals that shocked surprise was Terry's reaction all along. See more »

Goofs

As the scene in which Terry coaxes Edie into walking home with him dissolves, Eva Marie Saint breaks character by abruptly stopping and turning around to head back towards the crew area near the camera. See more »

Quotes

[first lines]
Johnny: [to Terry] You take it from here, Slugger.
See more »

Crazy Credits

Opening credits are shown over a bamboo-type mat background. See more »

Connections

Referenced in Sword of Honour: Episode #1.4 (1986) See more »

Soundtracks

Here Comes the Bride
(uncredited)
Written by Richard Wagner
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Powerful every time I see it
3 October 2002 | by (United States) – See all my reviews

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


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