On the Waterfront Essay -- Film

Interpersonal relationships are a potent entity that wildly flutter, like a liberated pigeon, through the execrable docks of Elia Kazans 1954 film On the Waterfront, shaping the moral metabolic process of protagonist Terry Malloy from an analysts perspective, the power source of the film. Terrys voyage from an incoherent and diminished bum to a gallant contender, is the pedestal that the film gyrates around, however, it is palpable that Terry a man branded with his primitive mores - is not equipped of emancipating himself from the self-preservative speech rhythm of D and D singlehandedly. Therefore, the catalytic, moral facilitation of inspirational outsiders - Edie Doyle and Father Barry are essential to the rewiring of Terrys conscience and his propulsion into demonstrateing what is right against what is wrong. However, rapports do not manifestly remain strong and stable for the entire duration of the film they fluctuate. Terry shuffles closer to the side of morality ea ch scene, portrayed by the simultaneous declension of Terrys intertwinement with Johnny Friendly and the mob and intensification of his romantic involvement with Edie and confidence in Father Barry. Relationships fuel and glorify Terrys powerful, audience-enthralling journey to morality. Nestled under the hawkish wing of Johnny Friendly, the beginning of the film sees Terry Malloy a daft bum, too preoccupied by standing with the right people, fitting to have a bit of change jingling in his pocket to deeply contemplate morality. Tainted by a distressing antiquity, Terry Malloy has habituated to a dog-eat-dog world of Darwinian survival of the fittest, where taking it out on their skulls is the appropriate method of resolution. Its eve... ...y. These factors, coupled with the incorporation of the heart-melting cheekbones of Marlon Brando at his prime are more apparent to have screamed power in the eyes of a 1950s audience, let alone the viewer of today. Also, the fact that On the Waterfront mirrors Elia Kazans real-life decision to testify to the HUAC magnifies its validity to human nature and overall potency. As he trudges across the docks towards the unfamiliar, suit-clad man looming like utopia in the distance, Terry Malloy is clearly a product of his relationships. His rapport-catalyzed metamorphosis from a follower of Johnny Friendly to a genuine contender is profoundly powerful, however the ending is bleak with corruption still lingering as the gate slides closed behind the men, engulfing them into another cycle of exploitation as Bernsteins music reaches a haunting shrill.