On the Waterfront

1954
Approved
1h 48m

IMDb RATING

8.1/10

170K

YOUR RATING

POPULARITY

3,547

Marlon Brando in On the Waterfront (1954)

Three Reasons Criterion Trailer for On the Waterfront

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Legal Drama Crime Drama Thriller

An ex-prize fighter turned New Jersey longshoreman struggles to stand up to his corrupt union bosses, including his older brother, as he starts to connect with the grieving sister of one of ... Read allAn ex-prize fighter turned New Jersey longshoreman struggles to stand up to his corrupt union bosses, including his older brother, as he starts to connect with the grieving sister of one of the syndicate's victims.An ex-prize fighter turned New Jersey longshoreman struggles to stand up to his corrupt union bosses, including his older brother, as he starts to connect with the grieving sister of one of the syndicate's victims.

See production info at IMDbPro

IMDb RATING

8.1/10

170K

YOUR RATING

POPULARITY

3,547

See production info at IMDbPro

Top rated movie #208

Won 8 Oscars
- 30 wins & 11 nominations total

Videos1

Trailer 1:36

On the Waterfront: The Criterion Collection

Photos257

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Trivia
In his biography of Elia Kazan, Richard Schickel describes how Kazan used a ploy to entice Marlon Brando to do the movie. He had Karl Malden direct a scene from the film with an up-and-coming fellow actor from the Actors Studio playing the Terry Malloy lead role. They figured the competitive Brando would not be eager to see such a major role handed to some new screen heartthrob. The ploy worked, especially since the competition had come in the form of a guy named Paul Newman.

Goofs
When Father Barry (Karl Malden) gets hit in the head with a beer can, he gets a cut on his forehead, which bleeds visibly in the scene. In subsequent scenes, there is no sign of the cut or of a bandage to show that he had been hurt.

Quotes
Charley Malloy: Look, kid, I... how much you weigh, son? When you weighed one hundred and sixty-eight pounds you were beautiful. You coulda been another Billy Conn, and that skunk we got you for a manager, he brought you along too fast.
Terry Malloy: It wasn't him, Charley, it was you. Remember that night in the Garden you came down to my dressing room and you said, "Kid, this ain't your night. We're going for the price on Wilson." You remember that? "This ain't your night"! My night! I coulda taken Wilson apart! So what happens? He gets the title shot outdoors on the ballpark and what do I get? A one-way ticket to Palookaville! You was my brother, Charley, you shoulda looked out for me a little bit. You shoulda taken care of me just a little bit so I wouldn't have to take them dives for the short-end money.
Charley Malloy: Oh I had some bets down for you. You saw some money.
Terry Malloy: You don't understand. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let's face it. It was you, Charley.

Crazy credits
Opening credits are shown over a bamboo-type mat background.

Alternate versions
Criterion Collection Blu-ray Disc release exhibits the film in 1.66:1, which is widely regarded to be the "correct" aspect ratio for the film. However, a second disc includes the film in 1.33:1 AND 1.85:1, so that viewers can watch the film in the different ratios.

Connections
Edited into Un Américain nommé Kazan (2018)

Soundtracks
Here Comes the Bride
(uncredited)
Written by Richard Wagner

User reviews407

Featured review

7/10

Excellent performances; so-so story

Elia Kazan's "On the Waterfront" is frequently listed among the greatest of all American films. It concerns a longshoreman's inner and outer struggles in exposing the corruption of union bosses.

Unquestionably, the strength of the film is the acting. Brando's performance in particular is one for the ages. He won his first Oscar for this role and Eva Marie Saint also garnered an Oscar in her introductory film role. On top of that Karl Malden, Lee J. Cobb & Rod Steiger all earned Best Supporting Actor nominations. These accolades give an idea of the level of talent on display here.

Kazan's direction is well done as he strives for a gritty, realistic look. Shooting on location was an important part of that. Leonard Bernstein's score, on the other hand, is often overbearing. There's nothing wrong with the music itself, only the prominence of it.

The main area in which I feel the film doesn't quite deliver is the story. The film does a fine job of exploring the characters but I find that the underlying storyline doesn't really work for me. The main premise is a good one but after the initial confrontation I began to lose interest. The self-consciously 'inspiring' ending doesn't help, either.

All things considered, I give the film high marks for the excellent acting and direction which, unfortunately, are in service of a merely average story.