After settling his differences with a Japanese PoW camp commander, a British colonel co-operates to oversee his men's construction of a railway bridge for their captors - while oblivious to a plan by the Allies to destroy it.
Terry Malloy dreams about being a prize fighter, while tending his pigeons and running errands at the docks for Johnny Friendly, the corrupt boss of the dockers union. Terry witnesses a murder by two of Johnny's thugs, and later meets the dead man's sister and feels responsible for his death. She introduces him to Father Barry, who tries to force him to provide information for the courts that will smash the dock racketeers. Written by
Colin Tinto <email@example.com>
In May 1955, two months after the Academy Awards, Monticello Film Corp. demanded that the Academy take back Budd Schulberg's writing award. According to a Hollywood Reporter item, Monticello had filed suit in October 1954 against Schulberg, Elia Kazan, Sam Spiegel, Horizon-American Pictures (Spiegel's company), Columbia and Malcolm Johnson, claiming that Schulberg was under their employ when he dramatized Johnson's series. The outcome of the suit has not been determined but the award remained with Schulberg. See more »
In the church scene when the meeting is broken up by the thugs outside there is a long shot with the characters trying to decide which way to run and you can see a boom mic bouncing around for a few seconds at the top of the screen. See more »
You take it from here, Slugger.
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Opening credits are shown over a bamboo-type mat background. See more »
Still powerful after all these years, it's easy to see why this film won so many awards. Even though it isn't classified as "film noir," it might as well be, as it has the earmarks of one: gritty, downbeat with a feeling of dread, magnificent black-and-white cinematography, etc.
It's certainly not a "fun" movie but if you appreciate great film-making, you have to rate this near the top of the list Not only is the direction (by one of the all-time greats, Elia Kazan) superb and the photography striking, the acting also is top-rate.
Marlon Brando was just riveting to watch in here and deserved all the accolades he received for his performance. Talk about a guy with mixed emotions and a tormented soul! Eva Marie Saint, as Brando's "conscience" and love interest, proved to be worthy in her role.
The rest of the characters were angry people, always shouting it seemed, always upset at someone. Even the priest, played by Karl Malden, was that way although one of his passionate speeches was remarkable to hear. How many films does one hear about Jesus Christ being everywhere men are? None I can recall, offhand. He, like Saint's character, also influenced Brando to do the right thing.
Lee J. Cobb filled his bill as the angriest of them all, the labor boss who would have anyone killed who dare speak out against his illegal practices, and Rod Steiger was his normal intense self as Brando's older brother. Hey, almost everyone was intense in this film. It gets you involves and wears you out by the end.
Steiger and Brando's conversation in an automobile fairly late in the film ("I couda been a contenda") is one of the most famous scenes in movie history, but I found many memorable scenes in this movie....too many to recount here.
Suffice to say if you are looking for a hard-nosed drama with great acting and photography, a film that still looks and sounds up-to-date in many respects, don't be afraid to give this "oldie" a look. You'll see why it's considered one of the best movies of all time.
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