ON THE WATERFRONT

Elia Kazan (1954)

“Conscience. That stuff can drive you nuts.”

Terry Malloy, a “longshore man” on the docks in Hoboken, testifies against his corrupt union, which was run by New Jersey’s underground. This film was, among other things, Kazan’s justification for his decision to testify before the House Un-American Activities Committee (HUAC). There, he named former associates who were involved with the Communist Party, and became a pariah in left-wing circles.In the film, when a union boss shouts, “You ratted us on Terry,” the Brando character shouts back, “I’m standing over here now. I was rattin’ on myself all these years. I didn’t even know it.” This reflects Kazan’s belief that communism was an evil that temporarily seduced him and had to be opposed. Some critics believe Kazan’s buried agenda tarnishes the film, using it to justify himself. Directors often make films for all sorts of hidden motives, some noble, some shameful, and at least Kazan was open about his own. He made a powerful and influential film, one that continued Brando’s immeasurable influence on the general change of tone in American movie acting in the 1950’s.

On the Waterfront was nominated for twelve Oscars and won eight, including best picture, actor, actress, and director. Ironically the other three were all for best supporting actor, where Lee J. Cobb, Karl Malden and Rod Steiger split the vote.