Kazan’s one-more-round attitude for this fist to fist challenge is blatantly grant.
Kazan’s one-more-round attitude for this fist to fist challenge is blatantly grant. It defines cinema at its finest. All the genres, from drama to thriller and from romance to politics, the tone fluctuates like never before and still remains persistent like always before. The conversations between Brando and Marie Saint does spark romance. The anticipated qualifications for the equations to move forward as the story enfolds ought to be convincing and is delivered thoroughly in here with gripping screenplay. One of the primary strength of the feature is its ferocious pace, leaping from one sequence to another, each moment is a pure delight.
Blending it all in, the huge cast, high pitched dramatic sequences, complex relationship, morality conflicts and a vital message, all wrapped up in an envelope, this is as cinematic as the cinema can be. And since it fiddles with multiple characters, it has to and does offer each of them a moment to stand alone and factor in effectively. The priest, the antagonist and the protagonist, each of them has something to say and Kazan gives them the stage an actor always aspires for. Brando as a troubled complex guy seeking his voice fabricates his performance with power and vulnerability to appear more human and welcoming host to its audience.
It is definitely one of the best performance of his life and supporting him all the way is a great cast like Malden as a bratty king with the crown and Marie Saint as the love affair and the inner voice of Brando. Kazan’s neat and clean vision of street gangster’s is more lethal than Scorsese’s in here. On The Waterfront is clearly a film ahead of its time and it has managed to keep us busy and electrified even after decades.