Well, we’ve cracked the top 20 and things are heating up, literally. Temperatures are rising on the docks in 1954’s On The Waterfront, a film that reminds one how amazing movies and acting can be. I don’t even know where to start with this film, so I’ll just jump right in. The story is intense, focusing on a washed up boxer (Terry Malloy played by Marlon Brando) who works on the docks and runs errands for a mobster union boss. When he becomes the central figure in a mob hit and falls for the sister of the dead stool pigeon his life gets turned upside down and he’s torn between staying D&D (deaf and dumb) or singing like a canary (talking to the cops). Throw in a priest with the passion to make things right on the docks and you get the age-old right versus wrong debate.
For film lovers On The Waterfront has it all, but nothing better than Brando’s performance as Terry Malloy. Brando had been nominated for Best Actor three times prior to this film, but he finally won his first Oscar for his portrayal of Malloy. I don’t think it’s hyperbole to say that his performance is one of the greatest ever captured on film and it has become iconic. It’s impossible to take your eyes off Brando in the film as his character begins as a happy-go-lucky guy with a cushy union job and no worries to the central figure in a major crime wave. He plays Malloy with his characteristic intensity and you believe he is a dumb New York dock worker who maybe got hit a few too many times as a prize fighter. And of course, he utters the classic monologue in the back of a cab when his brother threatens to kill him if he snitches on the mob:
“You don’t understand. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let’s face it.”
Nearly 30 years later Robert De Niro used the same lines while winning an Oscar himself for playing Jake LaMotta in Raging Bull, which for the record is No. 4 on the AFI list.
But back to On The Waterfront. It took home eight Oscars including Best Picture, Best Director for Elia Kazan and Best Supporting Actress for newcomer Eva Marie Saint. Kazan’s direction was marvelous and along with Leonard Bernstein’s Oscar-winning score provided the perfect mood for the big city docks. Karl Malden was terrific as the priest, who acts as the moral compass for the film and makes the comparison between the sacrifice of the “stool pigeon” and the sacrifice of Jesus. His speeches to the dock workers were also worthy of his Oscar nomination for Best Supporting Actor.
When you think of film in the 1950s On The Waterfront rises to the surface as a masterpiece. Four of the top 20 AFI films are from the 1950s, but On The Waterfront really encompasses the style of the decade. Bernstein’s score has a lot to do with it, but also Kazan’s direction and Brando’s method make the film edgy and alive. But make no mistake — this film as all Brando. And if you don’t like it then I’d be happy to give you a one-way ticket to palooka-ville!
Next: The General