The Wasteland Reviewer

The Wasteland Collection: On the Waterfront (1954)

What makes a compelling and iconic film stand the test of time? You have an expert filmmaker that makes each scene stand out in its own way. A cast full of talented performers bringing the story to lift in compelling ways certainly makes up the brunt of it. A compelling story with twists and turns will keep audiences on the edge of their seat for years to come. But a film that has something to say will echo into the annals of cinema and leave its mark. One such film that checks all these boxes in significant ways is Elia Kazan’s On the Waterfront. 

What gives this film the weight of standing for something? The message of the film is certainly more complex in a modern context. At the time, this film went straight after corruption amongst worker unions on the docks (based on true events). Unions, organizations made to protect workers, being twisted and corrupted to benefit organized crime has been a concern for decades. On the Waterfront was made at a time when this was a growing sensation that was wrecking the lives of blue-collar workers in favor of the connected few running the mob. Johnny Friendly can be a stand-in for any powerful union leader with the mobs’ hands in his pockets (looking at figures like Jimmy Hoffa). This seems to be a clear-cut approach against corruption and the harm of workers. But what makes On the Waterfront more complex thematically is what Kazan did himself as a whistleblower. Marlon Brando’s Terry Malloy becomes the hero of the story by standing tall and being a whistleblower against the mob. His journey is not simple, and it certainly is messy. The same can be said about Kazan’s own role as a whistleblower…for HUAC and McCarthy during the Red Scare. Peers of his, including Orson Welles, called Kazan’s film out for channeling his own experiences but framing it as “heroic”. With or without the context of Kazan’s own actions, On the Waterfront is a compelling exploration of corruption, unions, and the role of whistleblower.

What is the most significant representation of the cinematic landscape of the time that makes up the core of On the Waterfront. The Method. Acting has many different approaches to it. Nicolas Cage is a performer who has an approach that is purely unique to him. The likes of Laurence Olivier cut their teeth on the stage and understand the need to “perform”. But in the 1950s, a naturalistic embodiment of character began to define the cinematic landscape. Actors like Marlon Brando and Karl Malden represented this approach and channeled its philosophy in On the Waterfront. Brando is not just “acting”. He is embodying the person known as Terry Malloy. The scene where Terry picks up Edie’s glove and plays with it and puts it on is such a naturalistic response. Brando is living in the moment and feels like he is living the character and not just putting on a performance. There are plenty of moments of raw emotion and feeling that Brando channels throughout the film whether it is his car confrontation with his brother Charlie or breaking down to Edie or his fiery confrontation with Johnny Friendly. The performances in On the Waterfront are all naturalistic and grounded in a way that is totally against the acting approach on the stage or in early silent cinema. Kazan’s film is one of the most significant examples of The Method and stands as a true turning point in the world of acting. 

But what is the most iconic element of On the Waterfront? There are some films whose dialogue just emanates through the annals of cinema. On the Waterfront is one of those films. When you watch On the Waterfront for the first time, you immediately realize that these are some of the most iconic lines in the history of cinema. “I could have been a contender”. That scene between Terry and Charlie is a powerful scene of betrayal and self-actualization. Terry, for the first time in his life (most likely), gets to voice the deep-seated emotions that have been trapped inside of him for his whole life. His fiery and emotional response to his own brother threatening his life is powerful. The outburst is full of powerful lines of dialogue that are colorful, meaningful, and iconic. Life that could have been is so perfectly articulated by Terry through Brando’s powerful performance. But there are plenty of powerful speeches and pleas throughout the film as well from Malden’s Father Barry to Eva Marie Saint’s Edie to Lee J. Cobb’s Friendly. But at the end of the day, Brando’s speech about being a bum is an all-time bit of screenwriting that leaps from the page and into cinematic history.

Is On the Waterfront one of the most iconic films of all time? Kazan (whatever his perspective was meant to emulate) crafts such an engaging, layered, and powerful cinematic experience. The cast is filled with legendary performers with plenty of iconic dialogue. The form of acting it boasts was on the rise. This is a powerful story about corruption that was ripped straight from the headlines and still echoes truth today. That is what you call a masterful film.