#6, On the Waterfront

This one is hard to rate, actually. Before you decry me for blasphemy, my reservations essentially come from the political motivations behind the film. Elia Kazan is one of those called to the McCarthy hearings who actually named names, and got a whole bunch of actors blacklisted. And he's never apologized for it. On the Waterfront was his way of justifying his actions to his critics, most noticeably Arthur Miller. He parallels Brando to himself, then; the informant torn between loyalty to his union and "doing the right thing," who eventually decides to stand up to the corruption. The only thing is, one cannot justifiably compare the corruption of the dockworker's unions to the supposed communism of Hollywood. Plus, I firmly believe that Kazan's actions indirectly lead to John Garfield's fatal heart attack. And Kazan has never apologized for it. This knowledge makes the film difficult, in some ways.

All of that aside, however, One the Waterfront is still a masterpiece. For one thing, Schuldberg's screenplay is a true gem, delivering dialogue that remains fresh, entertaining, and thought-provoking. For such a simple premise, the story remains complex and involving throughout. Kazan, for his political shortcomings, is nevertheless a fantastic director, as the tone and pacing he sets throughout the film complements the script and actors' performances perfectly, and his sense of aesthetic is impressive while subtle.

While the film is certainly one of the greatest in terms of the fantastic pacing, the colorful personalities, and the truly amazing script, it's Brando's performance that sets it in a league of its own. Brando is absolutely perfect as the ex-prize fighter, union favorite who falls from grace. Terry Malloy is a rarity in film, a character who's so complex and yet so human, that he seems at the same time larger than life and as though he could be the guy sitting next to you on the bus, his arms folded and his face buried in his chest. It's impossible not to be moved by Brando in this film.

Highlights: Marlon Brando in the performance of a century. Hardly a slow moment.

Downers: The political message that I can't get over. Also, despite some fantastic dialogue with Brando, Eva Marie Saint's character gets tedious at some points. She's also billed surprisingly low on the credits. Women's lot in Hollywood, I suppose.

9/10