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Costumes: Anna Hill Johnstone, Flo Transfield Photography: Boris Kaufman
Music: Leonard Bernstein Production: Sam Spiegel
Company (s) of Production: Columbia Pictures, Horizon Pictures
Company (s) Distribution Columbia Pictures
Country of origin: United States
Country of origin: United States
Duration: 108 minutes (1h 48)
Released: July 28, 1954
King of Broadway and Prince of Hollywood
Elia Kazan is at the top of glory when, one day 1952, he became a "friendly witness" of the anti-American Activities Committee (HUAC) and gives the names of ten former Communist Party comrades. Act of betrayal that makes her life upside down as his career. Haunted by guilt, Kazan
abandons movies "on topic", his specialty, and began an intimate work and overwhelming that indelibly mark a generation of gifted filmmakers, from Martin Scorsese
to Francis Ford Coppola
.
.
1909
1913 Arrive in New Rochelle, NY.
1934-1936 Member of the Communist Party. Foundation Group Theater, which became the Actors Studio. 1947-1948 Created Broadway Death of a Salesman, of Arthur Miller , and A Streetcar Named Desire, Tennessee Williams
. Oscar for best director for The Wall invisible.
1951 A Streetcar Named Desire
four Oscars interpretation.
four Oscars interpretation.
On the Waterfront, eight Oscars.
1955 East of Eden . 1956 Baby Doll .
1960 Wild River .
1961 Fever in the Blood .
1963
America America. 1969
Arrangement. 1972
Visitors
. Visitors
1976
The Last Tycoon. 2003 Died in New York.
On the Waterfront
TALENT Elia Kazan REACHED BY HIS EMOTIONS
is a real movie. A film that restores confidence. A film that proves that cinema is an irreplaceable means of expression, an art whose special qualities do not belong to the novel or the theater. Only the cinema could achieve this blend of flexibility and rigor in the conduct of the narrative to the alliance of aesthetics and realism in the evocation of life, especially in this strange power of enchantment that ultimately influence the audience ... On the Waterfront is, indeed, a film that captivates. If there is a sorcery of the screen, do not doubt that
Elia Kazan knows the secrets. (...)
Dock workers are subject to the laws of hiring a gang of cons which they dare to rebel. Before the oppression they remain "
D and D
" D and D
deaf and dumb
, that is to say, deaf and dumb. And when one of them dares to say what he knows, the gang immediately removes ... When the film begins, a worker has been murdered. Among men who took part in the murder is a former boxer rogue, that laziness and vice turned into a little wild lout, fully engaged in his instincts. But at bottom of this being lost consciousness is not quite dead. (...)
, that is to say, deaf and dumb. And when one of them dares to say what he knows, the gang immediately removes ... When the film begins, a worker has been murdered. Among men who took part in the murder is a former boxer rogue, that laziness and vice turned into a little wild lout, fully engaged in his instincts. But at bottom of this being lost consciousness is not quite dead. (...)
The theme of the film is the fight against the forces of evil. Theme splits in passing in turn the particular plan in general terms, but ever to keep its internal unity: it is ultimately the hero because he repents of his sins that dockers are freed from the oppression of the gang. (...) Justice will triumph with the help of the more traditional morality. Since, on the other hand, this reversal of psychological character played by Brando is caused by the love of a maiden virtuous and pure, we come to wonder if
On the Waterfront is nothing a good romantic drama accommodated to the modern sauce. (...) All of this takes away a little resonance to the work. And behind the existing movie can not help imagining the film that
Kazan has probably dreamed of and it was forbidden to do. 
The reserve on the merits does not alter our admiration for the formal qualities of On the Waterfront. The talent of
Elia Kazan reaches its fullness here. It takes us first to a suffocating and brutal universe, then as his hero discovers the purity, tenderness, his images illuminate and extend into the sky and the sea of young gangster drama staff is to also spoke with power and admirable modesty. We are following with emotion the story of this pathetic soul buried in the mud and suddenly reborn in the light.
Kazan proves a master that cinema can be an extraordinary instrument of psychological description. (...) And
Marlon Brando is truly a great actor. He must have seen his face bruised, dazed by the blows and misery, finding time for a smile, a kind of childlike innocence. (...)
Jean de Baroncelli - Le Monde, January 19, 1955
Kazan, BREAK
"ON THE QUAYS" MARK A TURNING POINT IN THE HISTORY OF FILMMAKER
In one of the first pieces of Arthur Miller , They were my son, created in
Broadway in 1947
Elia Kazan found this exchange between Mr
Keller, owner of his own company, and his son Chris, who is reluctant to take his entourage: Chris "I was a good son too long, a good pear. It's over. "
Keller:" But you have a case here, what are you talking about? "-" The Case! Case does not inspire me! "-" Let's inspire you? "
" Let's inspire you? "Asked sarcastically, George Kazanjioglou his son Elia, who wanted to become an actor instead of devoting themselves body and soul to the carpet trade." Let's inspire you? "Questioned Isidore Miller, who had before the disaster of 1929
, a business of making clothes and was very vulnerable when faced with the artistic aspirations of his son. That says what binds
chooses to name names. Miller
COWARDICE OR COURAGE
The tragedy of Terry is having had to go too far in his two fathers of substitution, Friendly and his brother Charley (Rod Steiger
) which forced to sacrifice his boxing career. By basing his themes into the drama of one man, Elia Kazan
in the beautiful scene Taxi: "I could be a good person, I could be a champion instead of a bum ..."
Elia Kazan and
Arthur Miller : the pain of the son understood that dared to plot its path away from "Case" family, but has never really recovered from fathers have disappointed expectations. After the creation of Death of a Salesman, Miller Kazan
and decide to write together for the film. Their topic? The tragedy of the dockworkers. We are in full witch hunt, and Kazan chooses to name names. Miller
then refuses any contact with his "twin" and transforms their common project room. View from the Bridge ( 1955) tells how a docker denounced a Sicilian immigrant whose daughter is in love. Filial bruised, revenge sated by the information: there are these themes in On the Waterfront that Kazan wrote with another "principal name" , the novelist Budd Schulberg .
COWARDICE OR COURAGE
Miller denounced the accusation of cowardice; Kazan transforms into courageous denunciation. His Terry Malloy ( Marlon Brando), a former boxer became the handyman's Friendly mafia, decides assist the court. "I'm glad you did!" , he yells, and it Kazan crying with him. By entrusting the role of Friendly - like a father to the fatherless Terry - to J. Lee Cobb , the interpreter traveling salesman, Kazan reveals the secret of his kinship with the movie theater Miller.
) which forced to sacrifice his boxing career. By basing his themes into the drama of one man, Elia Kazan
sign a wonderful film, hard and lyrical. In 1980, Martin Scorsese offer a true reading of On the Waterfront with Raging Bull , history in black and white of a boxer in love with a blonde, too smart for him, and plunging into a decline because his brother mafia has rigged one of his matches ... Jake LaMotta (Robert De Niro
) is a real double Terry Malloy
. The film ends with Brando's monologue
. The film ends with Brando's monologue
in the beautiful scene Taxi: "I could be a good person, I could be a champion instead of a bum ..."
Florence Colombani - The World
Preview VO: On the Waterfront http://7-art.blogspot.com
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