This comes from a particularly satisfying period in the career of Sidney Lumet. Based upon one of the masterpieces of American theatre, the exteriors are filmed in his beloved New York whilst the interiors are shot in France. It is a Franco-Italian production and having the three leading male protagonists speaking in broken English contributes immeasurably to the films authenticity.
It is pretty faithful to the original apart from the ending and in changing the role of the lawyer Alfieri from that of Greek chorus to the voice of reason. Longshoreman Eddie Carbone has no time for reason as he is ruled by the heart and not the head. Like so many tragic characters he is basically a decent man whose fatal flaw, in this case, his improper love for his teenage niece, destroys him.
Carbone here is played by ex-footballer Raf Vallone who belongs to that rare breed: a hunk who can act. He has given some strong portrayals in his time, notably in Dassin's 'Phaedra', but this powerhouse performance has it all and he is fully deserving of his David di Donatello award.
One of playwright Arthur Miller's favoured devices is to have what appears to be a happy domestic scene shattered by a catalyst which in this piece is the arrival of two of Mrs. Carbone's cousins from Italy. They are illegal immigrants but Eddie agrees to put them up and get them jobs on the docks. Tensions mount however as Carbone's beloved niece falls for one of them.......
The immigrants Marco and Rodolpho are played superbly by Raymond Pellegrin and Jean Sorel. This is, to my knowledge, Pellegrin's strongest role and Sorel of course was always underrated because of his impossibly good looks.
Another performance to treasure is that of Carol Lawrence as the niece. An all round actress/singer/dancer she was denied the chance of reprising on screen her award winning stage role as Maria in 'West Side Story' and although on paper a wee bit too old for the part of Catherine, gives a magnificent performance. Sadly, this is her only film.
As Mrs. Carbone we have the accomplished Maureen Stapleton, who combines strength and vulnerability.
Mention must also be made of Morris Charnovsky as Alfieri. An excellent actor whose film career was scuppered after being 'named' by Elia Kazan to the HUAC.
Historically there is a strong connection between Kazan's 'On the Waterfront' and Miller's play, for those who care to look it up.
Whereas in Kazan's film to inform is an act of heroism, here it is merely an act of betrayal.
Lumet's legendary skill with actors, Norman Rosten's screenplay, Michel Kelber's gritty cinematography and the beautifully understated score of Maurice Le Roux have given us a raw, stark, passionate, searing and visceral film which also seems to have served the playwright well. Let us hope Mr. Miller approved.
