JUST WATCHED: 'On the Waterfront'
History relived in a classic for the ages
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Luckily Brando took the part because he makes this film what it is, particularly in the third act and I am not talking about the "I coulda been a contender" speech although after learning all the particulars on that one you will certainly be astounded at how well it turned out. Take for example the fact that Spiegel skimped on the set giving Kazan only half a cab to work with and no background. This would have meant the scene would be shot and out the back window you would have seen the studio, not a moving street background. At the suggestion of one of the crew members venetian blinds were thrown in the back to cover up the window. Oddly, a special feature on the DVD has Martin Landau commenting on the brilliant decision for the blinds and how it only helped the mood of the scene.
However, venetian blinds couldn't fix everything, problems with the scene didn't stop there as Brando was contracted to work only until 4 PM every day and then he would leave to go see his shrink due to the recent death of his mother. This ultimately posed a problem as the famous scene was not yet completed leaving Steiger to perform his close-ups without Brando even there. Kazan is given much credit for the scene, but even he contends that it was pretty much all Brando and Steiger. One aspect of the scene that is generally considered one of the greatest moments is when Terry gently pushes Charley's gun away with a certain level of disappointment rather than fear(pictured above), that was all Brando and it is definitely worth note. Check the full scene out below.
This scene is a perfect example of what Brando brings to a film as it is not necessarily his acting that makes him stand out, but his gestures and the way he behaves within scenes. I am often reminded of the performance of Steve McQueen in The Magnificent Seven and how Yul Brynner thought McQueen was upstaging him by some of the things he would do while they were performing a scene together, most notably early on in the film during the hearse scene as McQueen takes off his hat and checks the sun. Audiences don't particularly notice these things but they do take place, and the slow push on the gun by Brando is one example, but another occurs when he and Eva Marie Saint are walking through the park and she drops a glove.
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Notice in the picture above what Brando is doing. Just prior to this screen capture he picked up the glove Eva dropped and sat down on the swing, only to then put the glove on over his workman's hands. This wasn't scripted and there isn't a break in the scene from either actor, even though there is a quick second where you will notice Eva look down at Brando's hands only to quickly turn away. Brando could have just as easily handed the glove back, but he used the moment in the scene and I am sure several audience members have noticed it consciously or unconsciously, but either way it affects the scene. The greatest part is hearing Elia Kazan in the special features say he only had the smarts not to yell cut.
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All this aside, however, my favorite part of this film comes at the very end after Terry has testified and he confronts Johnny Friendly on the docks with all the longshoremen looking on. There is so much rage and emotion in his speech that you can't help but feel it with him. On the Waterfront is not a fast paced film, it is methodical and filled with moral dilemmas and I believe everything comes full circle at this one moment. I could reference the scene where he refuses to talk to investigators as he attends to his pigeons, or the scene with Father Barry (Karl Malden) when he is trying to figure out what he must do, but just look at that picture above and tell me you aren't already feeling something. This is the scene that makes this movie great!
In the background is Cobb and he is just as enraged as Terry shouting, "Come on!" as the film comes to its violent climax. Perhaps the greatest thing to come out of this film is that you actually believe that getting to work as a longshoreman is a legitimate reward after everything that has happened.
All things said and done, the film is a true product of its time, but one that still holds value and rings true. I believe this would be a perfect film to use in any high school history class talking about the era. It never hurts to give students a little entertainment while teaching them about the past and On the Waterfront is an excellent example of teaching kids something important about our history using a medium that provides perfect parallels. Hopefully one day there will be a Criterion Collection edition of this flick, or at least a good special edition, that will contain better features that dive more into the HUAC portion of the story rather than just the generic making of stuff.
My next Cinematic Revival piece will be looking at Cameron Crowe's Almost Famous and then, just in time for Halloween, I take a look at the classic The Wolf Man from 1941 as they set out to remake it. If you would like to see a specific movie covered in the Cinematic Revival pieces, no matter how obscure, click here and let me know about it. I am taking all suggestions and throwing them in my NetFlix queue.
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Tough film to talk about on many levels, but I think you nailed them pretty thuroughly Brad. That park scene with the glove is probably one of my handful of favorite cinematic moments of all time and I never would have guessed you'd point that one out. The beautiful simplicity of what Brando does there is just extraordinary. He may have gotten fat and lazy in hos old age, but the actor was certainly one of the all-time greats and "On the Waterfront" is more than ample proof. Wonderful film, wonderful performance and wonderful essay. Nice job.