Rating 8.1/10
Runtime: 108 min
Language: English
Country: USA
Directed by: Elia Kazan
IMDb Link: http://imdb.com/title/tt0047296/
Cast
Marlon Brando ... Terry Malloy
Karl Malden ... Father Barry
Lee J. Cobb ... Johnny Friendly
Rod Steiger ... Charley 'the Gent' Malloy
Eva Marie Saint ... Edie Doyle
Pat Henning ... Timothy J. 'Kayo' Dugan
Leif Erickson ... Glover
James Westerfield ... Big Mac
Description: The Waterfront Crime Commission is about to hold public hearings on union crime and underworld infiltration. As workers are turned against each other, Terry Malloy inadvertently participates in the murder of fellow longshoreman Joey Doyle. Union boss Johnny Friendly orchestrates the murder along with other illegal dockside activities, aided by Terry's brother Charley. Terry begins to feel pangs of conscience. When Joey's sister Edie sees more in Terry than he sees in himself and Father Barry urges him on, Terry reassesses his past and begins to regain responsibility for his actions.
Screens:
Download link (torrent file):
https://workupload.com/file/cw9Nhg62uaq
Video and audio information:
Video : 2.27 GB, 3015 Kbps, 23.976 fps, 796*480 (1.66:1), V_MPEG4/ISO/AVC x264 core 164
Audio : 345 MB, 448 Kbps, 48000 Hz, 6 channels, 0x2000 = AC3, CBR
Also a nice set of extras included:
*
"Elia Kazan - an outsider" - "A mass of ambivalence" is how Kazan describes himself in this probing 1982 profile that provides an intimate look at the man and his career. Composed almost entirely of comments by Kazan taken from a series of interviews with French film critic Michel Ciment, the documentary allows the director the opportunity to expound on his Turkish immigrant background, tenure at The Group Theatre, and the genesis of the famed Actor's Studio, which he co-founded. Kazan explains the finer points of method acting, recalls working with Brando and Robert De Niro, recounts how he cast James Dean in 'East of Eden,' defends his testimony before the House Un-American Activities Committee, and discusses his various novels and personal relationships. Unfortunately, only clips from 'Baby Doll' and 'America, America' are used to illustrate his work, but Kazan's frank remarks and vibrant personality keep this well-made portrait lively and interesting. (53:14 min)
*
"Contender: Mastering the Method" - 'On the Waterfront' was the first movie to fully showcase method acting, and this 2001 featurette scrutinizes the famous “I coulda been a contender!” taxicab scene between Brando and Rod Steiger that epitomizes the philosophy. Critic Richard Schickel, TV host James Lipton, actor Martin Landau, Brando biographer Patricia Bosworth, author Jeff Young, and Steiger himself analyze the scene from every angle, discussing its slapdash shooting, various nuances, Brando's inherent insecurities, Steiger's anger over having to shoot his close-ups with a stand-in (Brando was dismissed early that day so he could see his shrink), and the basic tenets of The Method. Rarely does any single sequence from any film deserve such attention, but this one does, and this piece honors it to the fullest (25:04 min)
*
Interview with Elia Kazan - In this 2001 interview with film critic and historian Richard Schickel, the director lauds the 'On the Waterfront' screenplay as "perfect," and says of the movie as a whole, "This was as close [as I ever came] to making a film exactly the way I wanted it." Kazan remembers "hanging out in Hoboken" to absorb the attitudes of the dock workers and meeting a real-life prototype of Terry Malloy; how producer Darryl F. Zanuck, despite his penchant for socially conscious pictures, refused to bankroll the production; and how eventual producer Sam Spiegel drove writer Budd Schulberg crazy with script revisions, but the two rose above the antagonisms to create a terrific work. Kazan admires the uncanny manner in which Brando could balance brutal toughness with a delicate tenderness, and confesses the iconic cab scene that features the immortal line, "I coulda been a contender," was basically self-directed by Brando and Rod Steiger. Kazan is always a kinetic presence, and here, even at age 92, he's as clear-headed and feisty as ever (12:00 min)
*
Interview with Eva Marie Saint - Still beautiful at age 88, Saint sits down to reminisce about 'On the Waterfront' and her experiences making her debut film in this 2012 interview. She recalls her initial nerves, her chemistry with Brando, and how, contrary to popular belief, the famous glove scene resulted from a mishap that occurred during rehearsal - not during shooting - and was recreated on screen. Saint terms Brando and Kazan the best actor and director with whom she ever worked, and describes how the scene in which she and Brando are pursued by a speeding truck ended up being more realistic (and frightening) than she anticipated. She also compares Kazan's directing style to that of Alfred Hitchcock, who guided her through 'North by Northwest,' in this wonderfully nostalgic and sincere conversation. (11:11 min)
*
Interview with Thomas Hanley - 'On the Waterfront' employed many local Hoboken non-actors, and Thomas Hanley was one of them. He portrays young Tommy Collins, the tenement boy who helps Terry tend his rooftop pigeon coop and becomes disillusioned when Terry turns snitch. In this revealing 2012 interview, Hanley looks back at his experiences, recalling how he lived in the building where much of the movie was shot, how he was cast, the embarrassment he felt about acting in a film, the familiar Hoboken locations, and how Kazan purposely antagonized him to provoke emotion. He also shares his fond memories of Brando, and details his 50-plus-year tenure as an actual longshoreman (he joined the ranks at age 16, just two years after 'On the Waterfront' premiered) and the corruption that existed then and continues to this day. With candor and insight, Hanley provides another unique perspective that enhances this enduring classic (12:00 min)
*
"Who Is Mr. Big?" - Author and waterfront expert James T. Fisher chronicles the fascinating real-life history behind Kazan's film. We learn how Irish immigrants dominated the port and made it their "fiefdom," creating a hierarchy that both protected and exploited the workers, and how the self-regulating system hinged on a code of silence that brushed nefarious deeds and illegalities under the rug. Fisher also discusses the birth of the waterfront priest, the explosive public hearings generated by a series of Pulitzer Prize-winning articles by Malcolm Johnson (which inspired Budd Schulberg to write his screenplay), and links historical figures, such as Father Pete Corridan, Joe Ryan, and Bill McCormick (the prototype for the mob boss seen fleetingly after Terry's testimony), to their fictional counterparts in the movie. Terry Malloy is a composite of many characters Schulberg encountered during his exhaustive immersion in the longshoreman culture. Though conditions have improved on the docks over time, Fisher explains how the workers ultimately refused to end the corruption when they had the chance, allowing the Johnny Friendlys of the world to reclaim their position of power despite the efforts of Terry Malloys and Father Barrys. This 2012 featurette is another first-class offering from Criterion that provides essential background and context necessary to fully understand and appreciate 'On the Waterfront' (25:46 min)
*
"I'm Standin' Over Here Now: Reconsidering 'On the Waterfront" - This 2012 collection of interviews with five noted authors, editors, and film scholars covers all aspects of 'On the Waterfront,' from its earliest origins (playwright Arthur Miller first brought the idea of a longshoreman movie to Kazan) all the way through the film's premiere, success, and legacy. Much attention is given to analyzing Kazan's character, his suspicious nature, association with the Communist party, and decision to name names. Author David Thomson believes Kazan blossomed artistically in the years following his testimony, noting "Being a better artist sometimes means being a worse human being. We also learn about the real-life figures upon whom some of the characters are based, screenwriter Budd Schulberg's extensive first-hand research, how the movie delicately strives to advance civil rights, and how the naturalism of 'On the Waterfront' impacted actors and their profession. All the major performances are meticulously examined, as well as the striking cinematography and the movie's "acute sense of place" (45:00 min)
*
"Martin Scorsese and Kent Jones" - In this 2012 discussion, Scorsese and Jones, who co-directed the documentary 'A Letter to Elia,' reflect on Kazan's masterwork. Scorsese dominates the conversation, remembering the profound effect 'On the Waterfront' had on him as a young boy and his "special connection" to it. In addition to talking about the film's music, photography, and locations, the two men compare the movie to 'Force of Evil' and 'Citizen Kane,' and examine the similarities between Brando and another legendary cinema anti-hero, John Garfield (17:34 min)
*
"Jon Burlingame on Leonard Bernstein's Score" - The legendary composer only wrote one film score during his storied career, and it was for 'On the Waterfront.' This absorbing video essay examines the "groundbreaking" nature of the music through the three major themes and how they complement the action and dovetail during key moments. We also learn Bernstein played jazz piano during the bar scene; both Kazan and Schulberg complained about the score, but respect it; and possible reasons why Bernstein didn't win the Oscar for his work. Film clips and stills illustrate the various points and engender additional admiration for the potent and moving music. (21:05 min)
*
"On the Aspect Ratio" - This fascinating featurette examines the multiple aspect ratios of 'On the Waterfront' and how cinematographer Boris Kaufman shot the film using the "shoot and protect" technique to allow it to be exhibited in various formats. Examples of each ratio are shown, along with a discussion of their respective pros and cons (05:11 min)
*
Theatrical trailer - The original preview for 'On the Waterfront' touts the picture's greatness, but also amusingly terms its story "as warm and moving as 'Going My Way' (but with brass knuckles!) (02:42 min)
*
Audio commentary - A terrific commentary by film critic and historian Richard Schickel and author Jeff Young, both of whom have interviewed and written books on Kazan, provides a wealth of fascinating insights, anecdotes and bits of trivia concerning this classic picture and Kazan's personal connection to it. The two men talk about the film's ripped-from-the-headlines background, bitterly cold shoot, authentic locations and Brando's genius. Schickel calls 'On the Waterfront' "the last great black-and-white movie" and "apotheosis of Actor's Studio acting," while both discuss how the story paralleled Kazan's own experiences with the House Un-American Activities Committee and quote their respective conversations with Kazan. They compare Kazan's penchant for cool blondes to Hitchcock's similar obsession, examine the movie's often "artless" presentation, and note Frank Sinatra was originally slated to play Terry Malloy. This is a great dialogue between two intelligent film scholars, and their relaxed demeanor and comfortable chemistry make the track fly by. Many commentaries are just a bunch of hot air; this one's a breath of fresh air, and well worth a listen. (02:42 min)
Video and audio information:
Video : 2.27 GB, 3015 Kbps, 23.975 fps, 796x480 (1.66:1), V_MPEG4/ISO/AVC x264 core 164
Audio : 345 MB, 448 Kbps, 48000 Hz, 6 channels, 0x55 = AC3, CBR
Subtitles English closed captions embedded in a movie, to play them choose Subtitle=>Sub Track in VLC Player and separate English, Spanish, French, Portuguese, Portuguese-Brazilian, Italian, German, Greek, Turkish, Dutch, Danish, Swedish, Finnish, Norwegian, Polish, Hungarian, Czech, posters and screenshots included
Rating 7.3/10
