This is an excellent example of a film that has no special effects and very little action, but still packs a wonderful punch thanks to excellent acting and writing. I really do think this movie along with TWELVE ANGRY MEN and MARTY should be mandatory viewing for modern film makers, as I have long lamented that modern films place too much emphasis on special effects and not enough on acting and characterizations. The bottom line is that if the characters in a film are under-written, it almost always dooms a film to mediocrity--even with bloated budgets.

As far as acting goes, ON THE WATERFRONT is filled with many of the best actors of the 50s and 60s. Marlon Brando is at his best here in a simple but well-played role that isn't the least bit reminiscent of his Flether Christian or Jor-El--thank goodness. And, for support, the film includes Eva Marie Saint, Karl Malden, Lee J. Cobb and Rod Steiger--now that's a pretty powerful lineup! And, fortunately, these actors are all given excellent roles that give them a lot of chance to shine.

The film itself is about mob control of a longshoreman's union. A small but ruthless group of thugs control the waterfront and the workers behave mostly like zebras--hoping the "lions" leave them alone. However, through the course of the film, standing idly by becomes more and more difficult--especially for Brando. This actually is a great film example of mob psychology. At one point, a large group of dock workers just stand by as Brando is pummeled by just six guys. No one is yet willing to stand up to the thugs and they just hope it won't happen to them next.

About the only negative, and it's not enough to give this film a lower score, is the music. While the 50s jazzy tune is quite appropriate for the film, at times it is way too loud for the film--making normal moments seem way too intense and over-done. At one point, I even think it would have been best to have no music instead of the blaring violins during a seemingly normal conversation between Saint and Brando.

On the Waterfront. What an amazing film! So beautiful and moving. The film looks terrific, the cinematography, sceneries and camera angles are all on the money. The music is of sheer beauty and energy, and the script packs a full emotional punch, the "you don't understand" bit never fails to move me. The story is brilliantly directed, the direction is wonderful and the pacing is just right. The acting is superb, Marlon Brando is truly unforgettable in his role, it is definitely up there with his best. Plus, the ending is goosebump-inducing.

All in all, On the Waterfront is a truly wonderful film. There are so many good things about it and I can't wait to see it again. 10/10 Bethany Cox

After three nominations for Best Actor in 1951 for A Streetcar Named Desire, 1952 for Viva Zapata, and 1953 for Julius Caesar, the Oscar was not to be denied Marlon Brando for the fourth time. Although his playing of Terry Malloy was indeed Oscar caliber stuff, the award was really for a most remarkable body of work on screen up to that time. It was also for setting a new trend in acting style and influencing the next three generations of players.

On the Waterfront is also alleged to be Elia Kazan's answer to his critics of why he was a namer of names at the House Un-American Activities Committee. I don't think it was an accident that the subject of this film was labor racketeering. Forgotten by a lot of the people who defame Kazan today is that the Communist Party asked him to infiltrate and spy on not just actors, but various craft unions associated with film and theater. It was something he never forget.

He's often called a friendly witness. To me a friendly witness is someone who was an unabashed admirer of the House Un-American Activities Committee and its work, someone like Adolphe Menjou or Hedda Hopper or even John Wayne, people who were convinced these people were doing a patriotic service.

In On the Waterfront, labor racketeer Lee J. Cobb, a bullying loudmouth of a man, runs the longshoreman's local. He commits murder, extortion, and various other crimes at will without fear of reprisal because no one will talk because of their code against informing. Waterfront priest Karl Malden realizes it, but bangs his head against the code of deaf and dumb.

Marlon Brando is a washed up ex-prizefighter who finds work on the docks through his older brother Rod Steiger who works for Cobb. Unknowingly he fingers Eva Marie Saint's brother for a hit and then he falls for her. The film is essentially Brando's struggle to find out what the right thing to do in this situation.

When he's on the screen Brando dominates. He invests the character of Terry Malloy with a lot of layers and the audience really struggles with Terry in his soul searching. He starts to see Cobb and to a lesser extent his brother Steiger as more exploitive than helpful even in his own life. That famous taxi scene with Steiger who's got his own life on the line if he doesn't get his brother away from Eva Marie is one where it all comes out. Brando got his ticket to Palookaville and he doesn't like the neighborhood at all.

Eva Marie Saint got a Best Supporting Actress in her film debut. She's pretty far from later characters she played like the cool blond of Cary Grant's dreams in North By Northwest. Those were more the roles she played in her career than the working class girl of On the Waterfront.

Karl Malden, Lee J. Cobb, and Rod Steiger all were nominated in the Best Supporting Actor category and they wound up splitting the vote and allowing Edmond O'Brien to win for The Barefoot Contessa. The other nominee was Tom Tully in The Caine Mutiny. All three could have been winners.

I remember when Elia Kazan died a few years ago and I think the unkindest cut of all for him was to be eulogized on television by Pat Buchanan. Though the left disowned him, he always considered himself a man of the left. One could fight injustice without submitting to a regimentation of the soul that Communism was when it triumphed. Something a lot don't realize today.

The regimentation that Lee J. Cobb had on those longshoremen is what Kazan was expressing himself against in On the Waterfront. over fifty years later it's a landmark expression.