New video I created in tribute to Marlon Brando in ON THE WATERFRONT (1954)!
On the day Kazan showed me the completed picture I was so depressed by my performance that I got up and left the screening room.
-Marlon Brando on seeing his portrayal in ON THE WATERFRONT
What else is there to say about ON THE WATERFRONT that hasn't already been said. The acting, the directing, the politics, the controversy, the casting ... the "contenda".
For, by now, all of us for the most part know of the Sinatra/Brando connection (Sinatra being cast as "Terry" though Spiegel wanted Brando regardless of Brando not wanting any part of the film, having to be pushed by his agent, Jay Kanter, to take the role) ...
... The question, answer, and suggestion of "is that what the whole "if I had this part in the picture, it puts me right back on top, you know" Johnny Fontaine "You can act like a man!" scene in THE GODFATHER was all about (ah-ha, either way, still a Sinatra/Brando connection even on screen "What's-the-matter-with-you!"), or was that something else?" ...
... Brando's noted reluctance to do the picture with Kazan because of ...
... Kazan's unfavorable decision by many to name names during the Hollywood Blacklist era ...
For, by now, all of us for the most part know of the Sinatra/Brando connection (Sinatra being cast as "Terry" though Spiegel wanted Brando regardless of Brando not wanting any part of the film, having to be pushed by his agent, Jay Kanter, to take the role) ...
... The question, answer, and suggestion of "is that what the whole "if I had this part in the picture, it puts me right back on top, you know" Johnny Fontaine "You can act like a man!" scene in THE GODFATHER was all about (ah-ha, either way, still a Sinatra/Brando connection even on screen "What's-the-matter-with-you!"), or was that something else?" ...
... Brando's noted reluctance to do the picture with Kazan because of ...
... Kazan's unfavorable decision by many to name names during the Hollywood Blacklist era ...
... The film debut of Eva Marie Saint, and the cab scene and the absence of Brando, whose mother "Dodie" (whom he adored more than anyone) would pass away in March, 1954, just months after visiting Bud (Brando) on location wile filming ON THE WATERFRONT.
But ... what if ... what if we didn't? What if we didn't know all of this? What if we went in blind ... What would we think?
But ... what if ... what if we didn't? What if we didn't know all of this? What if we went in blind ... What would we think?
Marlon Brando with his mother Dorothy and father Marlon Brando, Sr., along with Sam Spiegel, during filming on ON THE WATERFRONT. His mother "Dodie" would pass away a few months later.
Well, that's exactly how I found ON THE WATERFRONT. Unopened, brand new to the eyes. A gift ready to be unwrapped, like ...
"For me?"
... Exactly Jane.
Outside of VIVA ZAPATA! and MUTINY ON THE BOUNTY (coming up later this week as the last film of my 6 in this series), which came very soon thereafter, every Marlon Brando film shown during the 31 Days of Oscar, I saw early on after my post Godfather/media Brando discovery, and have watched all of them more often than most other films over the years (for the other Marlon Brando blogs in my #31DaysOfOscar series visit HELLO, I'M MARLON BRANDO). Over the course of that time, seeing them on a regular basis, you'd think you'd forget how you felt the first time you watched it ... You don't. It only enhances as time goes by.
And of all the scenes, of all the things happening in this film; dialogue, taxi cabs, boxing matches, and pigeons combined, the one moment that stood out above all else for me during and after was ... One. Glove. My eyes followed along without missing a moment. And I knew, this was not supposed to happen. But it did. And what does Brando do? Hand it back to Eva Marie Saint? Stop the scene to start all over again? ... No. He picks the glove up ... and now ... the scene begins.
As told by Eva Marie Saint to Robert Osborne during the 2013 Turner Classic Movies Film Festival:
Outside of VIVA ZAPATA! and MUTINY ON THE BOUNTY (coming up later this week as the last film of my 6 in this series), which came very soon thereafter, every Marlon Brando film shown during the 31 Days of Oscar, I saw early on after my post Godfather/media Brando discovery, and have watched all of them more often than most other films over the years (for the other Marlon Brando blogs in my #31DaysOfOscar series visit HELLO, I'M MARLON BRANDO). Over the course of that time, seeing them on a regular basis, you'd think you'd forget how you felt the first time you watched it ... You don't. It only enhances as time goes by.
And of all the scenes, of all the things happening in this film; dialogue, taxi cabs, boxing matches, and pigeons combined, the one moment that stood out above all else for me during and after was ... One. Glove. My eyes followed along without missing a moment. And I knew, this was not supposed to happen. But it did. And what does Brando do? Hand it back to Eva Marie Saint? Stop the scene to start all over again? ... No. He picks the glove up ... and now ... the scene begins.
As told by Eva Marie Saint to Robert Osborne during the 2013 Turner Classic Movies Film Festival:
I know, I know, I know! I could just see Marlon and hear him right now. It was a difficult scene. Why [would he notice] the girl from the waterfront? Why the girl from the convent, the Catholic school and all that? Why would she stand there? Well, in the rehearsal, I dropped my glove. Marlon picked up the glove, put it on his hand, started sort of fondling the glove, and it was very sensual. Edie had to get the glove, she had to go on her way, and so that sort of detained her. We told Kazan how it happened and he loved it, and so he said, ‘Keep it in.’ “
Of all the six films in my series, this is probably the one blog post I'll write the least about. Because it's all there. It's all. Right. There.
The musical score, written by Leonard Bernstein, in his first and only time writing a score that was solely and purely for a film. Music so defined and identifiable, it can be mistaken by no other song piece written or heard. As original a composition, sound or line as the zither music by Anton Karas in THE THIRD MAN or Bernard Herrmann to Alfred Hitchcock. You hear it and you know it.
|
The dialogue in the film, written by Budd Schulberg (1914-2009), is a melodic line of its own, only empowered by the musical score (IMO) ... in spite of the now infamous and a bit comical Schulberg shaving in readiness for "going out to kill Sam Spiegel" (which obviously didn't happen) in the middle of the night when his wife asked him where was he going?
|
The acting and the actors, from stage and screen;
Rod Steiger at his start up in pictures (with only TERESA (1951) under his belt), but not to acting, as his career began on the tele as early as 1947, on stage in 1946, and even creating the role of "Marty" in a tele-production in 1953. It was from this "Marty" broadcast, Steiger tells Robert Osborne in his PRIVATE SCREENINGS sit down, got him the audition to read for the role of Brando's brother, Charlie "The Gent". Karl Malden, whose real name is Mladen George Sekulovich, a name, as did Cary Grant whenever possible use his own real name of Archibald "Archie" Leach in scene on a picture, did Malden with his own. Heard in ON THE WATERFRONT called out during the "roll call" scene in the courtroom just before the film's climax. Malden, no novice to the screen dating back to his film debut in THEY KNEW WHAT THEY WANTED in 1940, starring Carole Lombard and Charles Laughton, and a long time history with Brando and Kazan prior; Kazan dating back to The Group Theater days and Brando during their theater days, upon Malden's return from WWII, back into acting, meeting and working with the young unknown from Nebraska for the first time in 'Truckline Cafe'. Lee J. Cobb, whom my memory knowing as an actor goes back to my introduction in school as a required watch of 12 ANGRY MEN filled the screen for class over the course of two days. Cobb's film background beginning prior to the afore mentioned actors, in 1934's THE VANISHING SHADOW. Too to join The Theater Group in 1935, and whose stage credits span to probably his most notable performance in Arthur Miller's 'Death of a Salesman" in 1949 (another required read for me during my school years), to 'Waiting for Lefty,' and the role he'd recreate on screen in what was new comer William Holden's film debut (thanks to Barbara Stanwyck), GOLDEN BOY (1939) as Holden's father on screen. Other faces you'll recognize, like Leif Erickson (whom I always see at first mention in the role of Greta Garbo's brother in CONQUEST (1937) ... don't ask me why, I don't know really, but I always do), to Fred Gwynne, pre "Car 54, Where Are You?" or "The Munsters" in his on screen film debut ... and if you think "shorty" looks familiar, he is. Though not credited, the second Crime Commissioner who "just want to ask you some questions about some people you many know," is Martin Balsam ... to the real life dock workers as extras, with a few non-actor extras Elia Kazan knew Marlon Brando disliked immensely included in those tight quartered shots during the courtroom scene to further entice the performance, intensity wise, he was looking to get out of Brando. A tactic Kazan is most famously known for with directing actors. |
The docks, the cinematography ... (that opening scene tho ) ... what an effect. All photography of the screen a la Boris Kaufman. Hashtag "Oscar". Yep. Like this folks #Oscar
The conditions, being so cold while shooting in New Jersey, Kazan found it difficult to get the cast together in efforts to come "on set" on location and begin shooting for the day. Most of the time having to scan through hotels on some mornings to locate Brando registered under a false name, just so he could stay in out of the blistering cold for the day's shoot.
The truth.
The truth.
"Same thing they did to my Andy five years ago."
In VIVA ZAPATA! we talked of emotional watching. And with Brando, we get an array of them, especially in his earlier work, from "Zapata" to THE FUGITIVE KIND (1960).
But for me, in my eyes, ON THE WATERFRONT is his heartbeat. Not his soul, I believe his rawness for such can be sought elsewhere in his filmography for that. But this, his heartbeat drums here.
But for me, in my eyes, ON THE WATERFRONT is his heartbeat. Not his soul, I believe his rawness for such can be sought elsewhere in his filmography for that. But this, his heartbeat drums here.
[The film's success] had nothing to do with me—the audience is doing the work, they are doing the acting. Everybody feel like a failure. Everybody feels like they could have been a contender.”
-Marlon Brando
Waterfront earned 12 Academy Award nominations/Winner of 8:
Best Art Direction (WINNER: Richard Day)
Best Cinematography (WINNER: Boris Kaufman)
Best Director (WINNER: Elia Kazan)
Best Editing (WINNER: Gene Milford)
Best Music
Best Picture (WINNER: Sam Spiegel)
Best Supporting Actor (Cobb)
Best Supporting Actor (Steiger)
Best Supporting Actor (Malden)
Best Supporting Actress (WINNER: Eva Marie Saint)
Best Writing, Screenplay (WINNER: Budd Schulberg)
And after three times up for a nomination, A STREETCAR NAMED DESIRE (1951), VIVA ZAPATA! (1952), and JULIUS CAESAR (1953), Marlon Brando takes home the Oscar for Best Actor of 1954 (for more on the 1955 27th Annual Academy Award Ceremony, visit my 27th ANNUAL ACADMEY AWARDS: AND THE NOMINEES ARE ... piece).
Best Art Direction (WINNER: Richard Day)
Best Cinematography (WINNER: Boris Kaufman)
Best Director (WINNER: Elia Kazan)
Best Editing (WINNER: Gene Milford)
Best Music
Best Picture (WINNER: Sam Spiegel)
Best Supporting Actor (Cobb)
Best Supporting Actor (Steiger)
Best Supporting Actor (Malden)
Best Supporting Actress (WINNER: Eva Marie Saint)
Best Writing, Screenplay (WINNER: Budd Schulberg)
And after three times up for a nomination, A STREETCAR NAMED DESIRE (1951), VIVA ZAPATA! (1952), and JULIUS CAESAR (1953), Marlon Brando takes home the Oscar for Best Actor of 1954 (for more on the 1955 27th Annual Academy Award Ceremony, visit my 27th ANNUAL ACADMEY AWARDS: AND THE NOMINEES ARE ... piece).
"Marlon Brando and Thelma Ritter present Elia Kazan with the Oscar for Directing for On the Waterfront at the 27th Academy Awards. Hosted by Bob Hope." via Oscars YouTube Channel
ON THE WATERFRONT was a film Kazan wanted to make years prior while working with Arthur Miller, then to be called THE HOOK, as it was inspired by the Red Hook neighborhood of Brooklyn with its leading character being an Italian-American longshoreman (researched and written by Miller). Miller had turned the screenplay he had began writing in 1947 into a play eight years later in 1955, “A View From the Bridge.” Between those years, a lot had happened ... a lot (for a full view on THE HOOK and ON THE WATERFRONT connection, read Death of a Friendship, Birth of a Play from The New York Times). In 1951, Miller and Kazan (to be the film's director) took Miller's story to L.A. in efforts to find studio backing. This attempt failed, as the head of Columbia Pictures, Harry Cohn, wanted to rewrite the script, changing corrupt unions to Communist. This was a change Miller was not going to do. And so was the end of that story ... Almost.
As written in The Guardian, "This is the script – “a play for the screen,” he called it – that indirectly triggers Miller’s summons to the House Un-American Activities Committee (HUAC). It sowed the seeds of his marriage to Marilyn Monroe and his professional split from director Elia Kazan. Without The Hook, he probably wouldn’t have written The Crucible or A View from the Bridge, nor would Kazan have made On the Waterfront. It might be the most influential film never made." (read full article here: Arthur Miller's The Hook: world premiere for 'snarling beast of a play')
As written in The Guardian, "This is the script – “a play for the screen,” he called it – that indirectly triggers Miller’s summons to the House Un-American Activities Committee (HUAC). It sowed the seeds of his marriage to Marilyn Monroe and his professional split from director Elia Kazan. Without The Hook, he probably wouldn’t have written The Crucible or A View from the Bridge, nor would Kazan have made On the Waterfront. It might be the most influential film never made." (read full article here: Arthur Miller's The Hook: world premiere for 'snarling beast of a play')
There really isn't much to add to this story, although there is a lot surrounding it. But I say that in regard to the film itself. Just watch it. Don't let the backstory get in the way of your view, dig into all of that later. If this is your first watch out ... Just watch. Let go and just watch.
But wait, *time out hands* ... Before I leave you to it, yes, Brando could've been a contenda and told us so beautifully, but you haven't seen the "class" in the "contender" of "somebody" until you'd seen my Mom go into scene (read ALL ABOUT MY STELLA) for the backstory to my Mom and I, "Stella" and "Blanche"). It's hard if not impossible for me to watch that scene now (or then) without seeing my Mom give her performance to go along with it. Every. Single. Time. So when you watch tonight, raise a coffee mug while you're in the taxi cab and take a cue for me and ... #ForMyMom (miss her everyday). Best and love Guys 'n Dolls.
|
Be sure to tune in TONIGHT on TCM at 7PM CT or follow along with my #31DaysOfOscar Brando series on Twitter @DominiqueRevue.
See you later this week for my 6th and final blog in my series with MUTINY ON THE BOUNTY (airing on TCM Saturday at 10:30AM CT).
See you later this week for my 6th and final blog in my series with MUTINY ON THE BOUNTY (airing on TCM Saturday at 10:30AM CT).
To view my other pieces thus far in my #31DaysOfOscar: Start here
For more of my personally made gifs, visit my GIPHY channel at: @DominiqueRevue |
2021 Update:
Revisiting ON THE WATERFRONT is not uncommon for me but, a recent revisit caused me to pause and reflect at what I was watching, as if ... for the first time. The performances given in this ... Poetic.
The scenes between Eva Marie Saint and Marlon Brando in the bar and during the entire dance floor sequence, right up to where Saint walks away from Brando, are worthy and deserving of ALL praises received. So real. So personal. It feels almost too personal to watch. As if the walls have been removed and we're invading a private conversation between two people ... Wow.
And something I love most about ON THE WATERFRONT is the cinematography by Boris Kaufman, and its aspect ratio. I'm always reminded by a piece written in the booklet from its Criterion DVD/Blu-ray release: "... since its premiere, there has been a debate about the proper aspect ratio...That there's any question at all is testament to the skill of the film Cinematographer ..."
Revisiting ON THE WATERFRONT is not uncommon for me but, a recent revisit caused me to pause and reflect at what I was watching, as if ... for the first time. The performances given in this ... Poetic.
The scenes between Eva Marie Saint and Marlon Brando in the bar and during the entire dance floor sequence, right up to where Saint walks away from Brando, are worthy and deserving of ALL praises received. So real. So personal. It feels almost too personal to watch. As if the walls have been removed and we're invading a private conversation between two people ... Wow.
And something I love most about ON THE WATERFRONT is the cinematography by Boris Kaufman, and its aspect ratio. I'm always reminded by a piece written in the booklet from its Criterion DVD/Blu-ray release: "... since its premiere, there has been a debate about the proper aspect ratio...That there's any question at all is testament to the skill of the film Cinematographer ..."