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On the Waterfront (1954)
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Director:
Elia
Kazan |
COUNTRY
USA |
GENRE
Drama |
NORWEGIAN TITLE
I
storbyens havn |
RUNNING
TIME
108
minutter |
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Producer:
Sam
Spiegel |
Screenwriter
(based on his novel):
Budd Schulberg |
Review
Marlon Brando's rare combination of
simpleminded bullishness and thoughtful sensitivity was put to best
possible use in this landmark film about union violence and abuse in a
community of longshoremen in New Jersey. Brando reunited with actors'
director Elia Kazan who went on location and let his players grind out
their conflicts in icy cold conditions – to harrowing
effect: On the Waterfront felt more starkly realistic and
unforgiving than most contemporary dramas, and it still does after sixty
years, despite the fact that the thematics today are (or should be) more
or less irrelevant in Western societies. There's an ominousness of
noirish quality seeping through this film, but it never feels in any way
stylized, as is often the case in noirs or even thrillers. This is all
credit to Kazan and his ability to put human conflict, both
interpersonal and internal, to the forefront. The film's famous
culmination, when Brando's Terry disarms his brother Charley, both
explicitly and metaphorically, is among the best single scenes in film
history.
Re-reviewed:
Copyright © 7.8.2015 Fredrik Gunerius Fevang
Original review: Copyright © 8.4.1997 Fredrik Gunerius Fevang
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