small but obviously dedicated group of realists has forged artistry, anger and some horrible truths into "On the Waterfront," as violent and indelible a film record of man's inhumanity to man as has come to light this year. And, while the explosive indictment of the vultures and the meek prey of the docksides, which was unveiled at the Astor yesterday, occasionally is only surface dramatization and an oversimplification of the personalities and evils of our waterfront, it is, nevertheless, an uncommonly powerful, exciting and imaginative use of the screen by gifted professionals.
Although journalism and television already have made the brutal feudalism of the wharves a part of current history, "On the Waterfront" adds a graphic dimension to these sordid pages. Credit for this achievement cannot be relegated to a specific few. Scenarist Budd Schulberg, who, since 1949, has lived with the story stemming from Malcolm Johnson's crusading newspaper articles; director Elia Kazan; the principals headed by Marlon Brando; producer Sam Spiegel; Columbia, which is presenting this independently made production; Leonard Bernstein, who herein is making his debut as a movie composer, and Boris Kaufman, the cinematographer, convincingly have illustrated the murder and mayhem of the waterfront's sleazy jungles.
They also have limned a bestial and venal boss longshoreman; the "shape-up" by which only his obedient, mulct, vassals can earn a day's pay; the hard and strange code that demands that these sullen men die rather than talk about these injustices and a crime commission that helps bring some light into their dark lives.
Perhaps these annals of crime are too labyrinthine to be fully and incisively captured by cameras. Suffice it to say, however, that while Mr. Kazan and Mr. Schulberg have not dug as deeply as they might, they have chosen a proper and highly effective cast and setting for their grim adventure. Moving cameras and crews to the crowded rookeries of Hoboken's quayside, where the film was shot in its entirety, they have told with amazing speed and force the story of Terry Malloy, ex-prize fighter and inarticulate tool of tough, ruthless and crooked labor leader, Johnny Friendly. The labor leader is an absolute unregenerated monarch of the docks who will blithely shake down his own men as well as ship owners; he will take cuts of pay envelopes and lend his impecunious union members money at usurious rates and he will have his pistol-toting goons dispatch anyone foolish enough to squeal to the crime commission attempting to investigate these practices.
It is the story also of one of these courageous few about to "sing" to the commission�a luckless longshoreman unwittingly set up for the kill by Terry Malloy, who is in his soft spot only because his older brother is the boss' slick, right-hand man. It is the tale of Terry's meeting with the dead man's agonized sister and a fearless, neighborhood priest, who, by love and reason, bring the vicious picture into focus for him. And, it is the account of the murder of Terry's brother; the rampaging younger man's defiant testimony before the commission and the climactic bloody battle that wrests the union from the boss' tenacious grasp.
Journalism may have made these ingredients familiar and certainly more inclusive and multi-dimension, but Mr. Kazan's direction, his outstanding cast and Mr. Schulberg's pithy and punchy dialogue given them distinction and terrific impact. Under the director's expert guidance, Marlon Brando's Terry Malloy is a shatteringly poignant portrait of an amoral, confused, illiterate citizen of the lower depths who is goaded into decency by love, hate and murder. His groping for words, use of the vernacular, care of his beloved pigeons, pugilist's walk and gestures and his discoveries of love and the immensity of the crimes surrounding him are highlights of a beautiful and moving portrayal.
In casting Eva Marie Saint�a newcomer to movies from TV and Broadway�Mr. Kazan has come up with a pretty and blond artisan who does not have to depend on these attributes. Her parochial school training is no bar to love with the proper stranger. Amid scenes of carnage, she gives tenderness and sensitivity to genuine romance. Karl Malden, whose importance in the scheme of this drama seems overemphasized, is, however, a tower of strength as the militant man of the cloth. Rod Steiger, another newcomer to films, is excellent as Brando's fearful brother. The pair have a final scene that is a harsh and touching revelation of their frailties.
Lee J. Cobb is muscularly effective as the labor boss. John Hamilton and Pat Henning are typical "longshoremen," gents who look at home in a hold, and Tony Galento, Tami Mauriello and Abe Simon--erstwhile heavyweight boxing contenders, who portray Cobb's chief goons--are citizens no one would want to meet in a dark alley. Despite its happy ending; its preachments and a somewhat slick approach to some of the facets of dockside strife and tribulations, "On the Waterfront" is moviemaking of a rare and high order.
ON THE WATERFRONT
Directed by Elia Kazan; written by Budd Schulberg, based on an original story by Mr. Schulberg and suggested by the series of Pulitzer Prize-winning articles by Malcolm Johnson; cinematographer, Boris Kaufman; edited by Gene Milford; music by Leonard Bernstein; art designer, Richard Day; produced by Sam Spiegel; released by Columbia Pictures. Black and white. Running time: 108 minutes.
WITH: Marlon Brando (Terry Malloy), Eva Marie Saint (Edie Doyle), Karl Malden (Father Barry), Lee J. Cobb (Johnny Friendly), Rod Steiger (Charley Malloy), John Hamilton ("Pop" Doyle), Pat Henning ("Kayo" Doyle), Leif Erickson (Glover), and James Westerfield (Big Mac).
