Rating: 
Summary: Brilliant
Review: This movie is a masterpiece. The writing, directing, the acting, the cinematography are fantastic. I've seen it a number of times, and it still holds up. I had the honor of a mutual friend introducing me to Karl Malden recently, and to think I was shaking hands with one of the main talents involved in both "On the Waterfront" and "A Street Car Named Desire" was a thrill. My one quibble would be that Eva Marie Saint (who I also met through mutual friends, but many years ago, to be a name-dropper, and she was a gem) should have been less of a whiner. If you watch the movie more than once, you can't really see why Brando falls in love with here, since all she does is whine. But she has good reason...so. Aside from that one complaint, it's one of the best films ever made.
Rating:
Summary: An American Classic
Review: In On the Waterfront, all the elements of great film making meet so ideally that the subtext of Kazan's self-justification becomes a non-issue. Those who dismiss the film because they villify its maker have a personal ax to grind and forget that great art is often achieved by very flawed artists. The plot turns Greek tragedy (and Shakespearean) on its ear. Brando's Terry Malloy is a self-proclaimed bum with no apparant redeeming virtues. But he rises to greatness when one virtue surfaces and exhalts him. It is not a sense of duty to break the corrupt union that saves him. It is love--for his brother and for the girl whose brother he has helped to murder, although unwittingly. The acting, from Brando all the way to the slightly smarmy government agents and the thugs and hangers-on who do Johnny Friendly's dirty work, is supurb. Kazan has said that Brando's performance is the greatest in American film history, and I agree. He is so inventive and so unlike anything that had ever been seen at that time. Though his character is certainly not subtle, Brando's performance is immensely subtle. I'll mention one emotion that is central to the theme of the story: indecision. In the scene in the bar (with Eva Marie Saint), he suffers a moral agony unfamiliar to him as his attraction to her, his horror at her brother's death, and his misplaced sense of "don't squeal" values hold him in conflict. This indecision comes to its conclusion, again in a bar, when he struggles with the same sense of allegiance and his hatred for Johnny Friendly. Kazan achieves one his most brilliant insights when Brando hurls the pistol at the mirror which holds his own reflection: his decision is clear. (Interestingly, Kazan used a smashed mirror to convey an entirely different idea in "Streetcar"). The music, which is indeed by Leornard Bernstein, not Elmer, is as elemental, brutal, and blood-stirring as is Kazan's direction and Brando's acting. I've seen Citizen Kane and the other films that some rate above this one, and I don't get it. On the Waterfront is America's great movie, the product of two geniuses at their best.
Rating:
Summary: A "landmark" film, A standard setter for all time.
Review: Having read all the reviews on this page, I realize that most of the superlatives have already been uttered. But let me add that the casting too was unforgetable. Shortly after the opening scene, the camera moves to two of Johnny Friendly's thugs,both of whom are ex prize fighters, Tammy Mauriello, and Gus Lesnevitch. The latter being the only contenda. However, those of us over 60 will remember that Tammy Mauriello was a Brookly bartender that somehow got to be in the ring with Joe Louis. Incredibly, in the opening seconds of round one he caught Joe with a stinging punch that floored Louis. But after that you could see on the face of Mauriello the damage done by Louis. The dialog was simple They look at each other and Mauriello says, as Joey Doyle screams as he plummets to his death, "heh heh,he sings like a canary, but he don't fly like none". This is very important as both fighters lend immediate authentiscity to the film and all it's characters,and if I'm not mistaken the score was done by Elmer Bernstein, Leonards brother. Once heard, who can ever forget the ominous drums in the opening scene. Truly one of the greatest films ever made.
Rating:
Summary: Elia Kazan's defense of Mccarthyism.
Review: Elia Kazan presents the tale of a pigeon and glorifies him in defense of his role in McCarthyism. Terry Malloy is a true hero. However, this does not ring true for Kazan and McCarthy. Malloy fights true injustice as he pulls the working man from the fist of the mob, while Kazan and McCarthy persecuted people for their beliefs. In America we are not allowed to act in any way we want, but we can believe whatever we want. Sorry Kazan, but the analogy does not eradicate you. Nonetheless a beautiful movie filled with symbolism and allusion.
Rating:
Summary: Looking at it Again
Review: There is little to add with respect to this great film and all the parts that make up the mosaic.The synergy between the dierction and cinematography have not been expanded upon much so lets just mention a few scenes. When Terry( Brando) Tells miss Saint that he was the one who set up her brother for his fall( death)..the camera then cuts to Malden..he has a close up while lighting a cigarette. One doesnt have to be Fellini to see what Malden is thinking and experiencing while lighting that cigarette. The scene with Brando and Saint having a beer at the bar runs the gamut of emotions..it is electric. These scenes could have been made only with the design of a great director !! CP
Rating:
Summary: One of the best movies
Review: This is one of the best movies ever made. It is stunningly beautiful, unapologeticaly hard in its realistic depicting of port unglamorous mob, movingly tender and romantic, and deep yet unpretentious. Perfect.
Rating:
Summary: "i coulda been a contenda,i coulda been somebody"
Review: the scene in the back of the car is one of the most famous and quotable scenes in film history. this is a film not to be missed.
Rating:
Summary: One of the first great realistic American films.
Review: Truly brilliant acting, mostly because you never see it. These characters are as real as you and I. This is due in part to Kazan's allowing the actors to improvise a great deal (the contender speech, e.g.). Watch for the scene when Brando tries on Saint's glove - unbelievably sexy without ever calling attention to itself. This is one of the greats.
Rating:
Summary: The greatest Marlon Brando film ever
Review: Renouned director Eliza Kazan brings to life the true story of Terry Malloy, a man torn between telling the truth and causing his friends unemployment, or being ignorant and letting his boss get away with murder. Malloy (played brilliantly by Marlon Brando) is an ex-prize fighter who gets a job down on the shipping docks. The hours are long, the conditions are terrible, and if you spoke up, you sleep with the fishies. One night, Malloy unknowingly sets a friend up for a fall (literally) and ends up falling for the guys sister (Eva Marie Saint in a debut role.) Brando won a well deserved Oscar for his role as did Saint. This is, in my opinion, Brando's finest role, not to mention the fact that it has one of the most famous Brando scenes as he tells his brother that he coulda' been a contender.
Rating:
Summary: Brando at His Best
Review: Personally, this Marlon Brando's greatest role and movie of all time(Even better than The Godfather or A Streetcar Named Desire). This movie is a little more realistic than the Godfather.Eva Marie Saint is excellent in role as Edie Doyle. Also, the supporting cast is more than excellent and almost amazing. The storyline is incredible along with setting . This movie so great I can't say enough good things about, but the ending was okay. Still, This one of the greatest movie ever made.
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