Arthur Miller, an acclaimed playwright and close friend of Elia Kazan's, wrote the original screenplay for Elia Kazan to direct. The officer strikes up an informal chat, stating that he remembers Terry being beaten up a few years ago in a boxing fight.
Do you agree? Overseeing the chaos, Father Barry is shocked at the situation, and asks the remaining men if they have a union to protest for their rights.No wonder everyone calls you a bum. Edie is depicted as an angel that saves Terry. An exterior, high-angle shot of the alley behind the church emphasises that there is narrow escape and indeed, no place to hide for the men on the waterfront. This demonstrates his lack of power and vulnerability, and invites the audience to feel empathetic for his situation. However, Terry is unsure, since he does not want to continue working for Friendly. Their fear is reinforced through the various murders committed by the gang, most of which are the deaths another longshoremen, thus warning the workers that any one of them may be next. Overseeing the chaos, Father Barry is shocked at the situation, and asks the remaining men if they have a union to protest for their rights. This lighting is distinctly different from the rest of the film and can be described as low key due to the shadow that fell over Terry, which left us unable to read his facial expression. When everyone returns inside the bar, Terry is left outside, physically enduring the cold but also metaphorically enduring the environment around him — as though he is facing a battle with his conscience. This is particularly because of the several conflicts regarding the regeneration. However, like Terry, Charley manages to achieve a state of redemption by acknowledging his wrongdoings. Miller was no longer involved with On the Waterfront and writing duties were passed over to Budd Schulberg. Seeing that Terry has reached a crossroad, Father Barry responds by encouraging Terry to begin clearing his conscience by approaching Edie about truth. Furthermore, the tall Manhattan buildings are difficult to identify, portraying a sense of mystery and unfamiliarity for the workers on the waterfront. His testimony attempts to show how it is fundamentally right to break group silence in a tough situation, even if a person appears to "rat" on his friends.
Mind your own business. He said that communism could override a person's intellect and beliefs. Symbolically, the rooftop is a place where Terry goes to think about his own morals without the pressures of the world below, and this would have been the case with Joey as well, thus leading the latter to spill to the Crime Commission.Why is Edie so clear on the wrongdoings on the waterfront, yet the men are blind to all the crimes? Firstly, threats are repeatedly made against all the longshoremen in an effort to ensure that if anyone dares to act out against Friendly, they are sure to meet dire consequences. No questions, take it. He ultimately learns that instead of abiding by Friendly, he needs to be loyal to himself, and this eventually saves himself and the other longshoremen from the clutches of the union leader. This will help reinforce the dialogue into your memory and additionally, you can also accurately jot down useful quotes. The outlines of the skyscrapers, which were once unidentifiable, are now easy to recognise, demonstrating that the men are free, as their vision is no longer clouded by Friendly. When Terry lures Joey out for Friendly, he is filmed with a high-angle shot, where the camera looks down on the subject. The lighting suggests that Johnny is powerful, bold, and important; while Terry is a weak follower who is unknowledgeable about Johnny's true line of work and the trouble it causes. Charley demands him to take the job before they reach River St, presumably the location where Terry will be killed for betraying the mob. Firstly, Joey talks to the Crime Commission yet before he is able to do any damage to the mob, he is found dead. Inside the warehouse, Terry sits down on a coffee bag reading a magazine — a privilege for the first person chosen from the workers. Their top hats, long thick coats and cigars all depict the wealth of the mob, juxtaposed with the longshoremen who wear thin jackets with holes throughout them. He was alright hanging around for laughs but this is business. Charley and Terry exemplify how although evil is evident in the film, it can be eradicated through the course of action and injustice. Charley begins to feel uncomfortable in his clothing and removes a glove when he confronts the truth about being solely responsible for coercing Terry into forfeiting his career and subsequently becoming just another longshoremen.
However, it appears as though he cannot completely escape since the waterfront structures emerge through the mist in the background. Inside the warehouse, Terry sits down on a coffee bag reading a magazine — a privilege for the first person chosen from the workers.
It received eight academy-awards inincluding best-picture and director. Marlon Brando imbues his character with a deep feeling that underscores his inner conflict and difficult ethical position.
To be at peace with oneself, Kazan seems to say, one must tell the truth, despite the fact that one will face ostracism, and, as in the film, probably be murdered. His brother, Charley, has always seeked out relationships for the comforts and benefits it offers him, thus being a prime example of how power can lead to corruption.