Except for Karl Malden who overplays his role as a priest, the acting here is quite good. Rod Steiger, Lee J. Cobb, and Eva Marie Saint all give fine performances. And Brando is indeed terrific as Terry Malloy, the non-intellectual brick-head and former boxer who is torn between his own conscience and loyalty to a corrupt gang of bullies. His scene in the taxi with Steiger is his most famous in the film. But I actually prefer his performance in the bar, wherein he tries to console the sister of the dead man.
Apart from the acting, however, I find little of interest. The B&W cinematography, though competent, is nothing special, except for the scene where Malloy and his girl run through an alleyway; that scene is quite effective and a good example of noir lighting. Otherwise, the visuals are drab, cheerless, and dull beyond words. The low contrast lighting of the blue-collar shipyard area conveys a mood of bleakness and misery.
Most of the script's characters are humorless hoods and thugs devoid of sentiment or kindness. Everyone is angry, and they're angry through the whole story. There's not an ounce of humor anywhere. Conflict is both verbal and physical. This is a very talky script. Some of the longer scenes could pass for stage play material. I couldn't care less about the political intrigue that was the basis for the original film concept. And the film's background music is loud and overbearing.
"On The Waterfront" is one of several old movies that film school instructors like to use to show examples of high quality acting. Similarly, for a viewer to say he or she likes this movie would be "safe"; hardly anyone will force him to defend his opinion.
But times change. The movie is way outdated. Along with a number of other cinematic "sacred cows", "On The Waterfront" seems stale, bromidic, shopworn and tired. However "instructive" the film might be for new actors, I find it lacking in entertainment value.
Apart from the acting, however, I find little of interest. The B&W cinematography, though competent, is nothing special, except for the scene where Malloy and his girl run through an alleyway; that scene is quite effective and a good example of noir lighting. Otherwise, the visuals are drab, cheerless, and dull beyond words. The low contrast lighting of the blue-collar shipyard area conveys a mood of bleakness and misery.
Most of the script's characters are humorless hoods and thugs devoid of sentiment or kindness. Everyone is angry, and they're angry through the whole story. There's not an ounce of humor anywhere. Conflict is both verbal and physical. This is a very talky script. Some of the longer scenes could pass for stage play material. I couldn't care less about the political intrigue that was the basis for the original film concept. And the film's background music is loud and overbearing.
"On The Waterfront" is one of several old movies that film school instructors like to use to show examples of high quality acting. Similarly, for a viewer to say he or she likes this movie would be "safe"; hardly anyone will force him to defend his opinion.
But times change. The movie is way outdated. Along with a number of other cinematic "sacred cows", "On The Waterfront" seems stale, bromidic, shopworn and tired. However "instructive" the film might be for new actors, I find it lacking in entertainment value.